































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































\ 







GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


AFFECTIONATELY DEDICATED TO 
MY DEAR CHILDREN 


3 






GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


The Saratogian Printing Service 
Saratoga Springs, N. Y. 


DEC 26 


4 








SEYMOUR DUNN 

Author 


5 






































































































































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


AUTHOR’S GENEALOGY 

The articles contained herein are the result of the life study handed 
down by many generations. 

“Old” Willie Dunn, the famous Professional Golfer of Mussel- 
borough, Scotland, who played in the Great Golf Match of 1849, with 
his brother Jamie Dunn against Allen Robinson and Tom Morris for 
tour hundred pounds sterling a side, was the father of the yet more 
famous Tom Dunn of North Berwick, Scotland, who from the time he 
was 20 years old till he died at the age of 52 was universally acknowl¬ 
edged the leading authority on golf. I am the youngest son of Tom 
Dunn. I was born at North Berwick, Scotland, March 11th, in the 
year of 1882 and, as my forefathers did, I cut my first teeth on a 
golf club. 

Gn my mother’s side were the Gourlays of Musselborough, and 
my mother Isabella Gourlay, true to her family traditions, was the 
greatest woman golfer of her day. Her father, John Gourlay, was 
the famous leather and feather golf ball maker. He was also a golfer 
of great renown. 

“Old” Millie Dunn, Musselborough* John Gourlay, Musselborough 
Father of Father of 

i l 

1 om Dunn, North Berwick Isabella Gourlay, Messselborough 
Father of Mother of 


Seymour Dunn 

Back farther still on my mother’s side there was a Douglas 
Gourlay, who was appointed teacher of golf to James V of Scotland. 
All these family connections have been a great help in preparing me 
for the great object of my life, which is to get down to the very root 
of this great problem, “The Fundamentals of Golf”. I have not 
indulged in practicing my own play for the capture of championship 
honors but have devoted myself to studying the science of the game, 
and analyzing every detail connected with it. 1 chose the work of a 
teacher as the best field for study for there all manner of questions 
arise and have to be met with a perfectly clear, correct and under¬ 
standable explanation. In the twenty years that I have been teaching 
Golf, I must have given as many if not more golf lessons than any 
other teacher that ever lived, and I hope among you, my dear children, 
there will arise at least one, a wielder of the club able to uphold the 
name of Dunn. 

* Mussel borough was the original center of Golf, much older than St. Andrews. 


( 






GOLF FUNDAMENTALS BY SEYMOUR DUNN 


PREFACE 

This book is intended as a reminder of the principal 
points to study in the science of the game. It is greatly 
condensed, and in order that it may be accurate, tech¬ 
nical terms are used. Also the sciences Geometry, 
Anatomy, Mechanics, Dynamics and Psychology are 
used to show proof and reason for my theories. 

The subject matter of this book is the text by which 
all instructors teach at the Seymour Dunn Golf School 
at Lake Placid, X. Y. 


8 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


GOLF 

FUNDAMENTALS 


ORTHODOXY OF STYLE 


SEYMOUR DUNN 

» i 


Copyright 1922 by Seymour Dunn 
All rights reserved 


Book One 


Published by 
SEYMOUR DUNN 
Lake Placid, N. Y. 
U. S. A. 


9 








GOLF 

FUNDAMENTALS 

B Y 

SEYMOUR 

DUNN 



CONTENTS 

BOOK 1 

Page 

Dedication . 

Frontispiece (Seymour Dunn) . 

Author’s Genealogy . 

Preface.. 

A Simple Introduction to the Game. 

Explanation of the Game. 

Pegs on Which to Hang Your Golf Thoughts. 

Preliminary Analysis of the Golf Swing. 

Summary of Preliminary Analysis. 

MECHANICAL LAWS OF THE GOLF SWING 
Order of Movements—How to Become Consistently Accurate 

FUNDAMENTAL 1—Maintain a Steady Swing Center. 

“ 2—Maintain a'Proper Swing Radius. 

“ 3—Keep Proper Oblique Plane of Swing .... 

“ 4—Guide Club Thru Proper Swung Parallel. . 

“ 5—Strike with Square Impact. 

Summary of the Mechanics of the Golf Swing. 

Simple Summary of Swung Control. 

Faults Resulting from Mechanical Errors of Swung. 

Topping . 

Skying . 

Slicing . 

Hooking . 

Digging and Sclaffing. 

Socketing . 

Combination of Errors. 

Conflicting Errors. 


3 

5 

7 

8 

13 

21 

29 


39 

47 

51 

59 

65 

71 


73 

74 

76 

77 

78 
78 
78 


'©Cl A69071Q 





























GOLF FUNDAMENTALS BY SEYMOUR DUNN 


BOOK 2 

DYNAMIC LAWS OF THE GOLF STROKE 
How to Get the Greatest Distance of Which You are Capable 

Page 

More Pegs on Which to Hang Your Golf Thoughts. 82 

FUNDAMENTAL 6—Hip Action ... 83 

“ 7—Shoulder Action . 87 

“ 8—Arm Action. 91 

“ 9—Wrist Action . 97 

The sag of the wrists. 102 

FUNDAMENTAL 10—Order of Dynamics of Stroke. 105 

“ 11—Concentration of Power. 113 

“ 12—Transmission of Power. 115 

“ 13—Consistency of Stroke. 117 

Simple Summary of the Power of the Stroke. 119 

Summary of the Mechanics and Dynamics of the Golf Stroke .... 120 


BOOK 3 

GOLF PSYCHOLOGY 7 

How to Make the Utmost Use of Your Golf Mental Faculties .... 121 

FUNDAMENTAL 14—Psychology of Learning the Swing. 123 

“ 15—Psychology of Producing the Shot. 125 

“ 16—Psychology of Keeping the Eye on the 

Ball... .'. 129 

“ 17—Psychology of Proper Aim Taking .... 131 

“ 18—Proper Attitude of Mind Toward the 

Game . 133 

“ 19—Psychologically Correct Way to Correct 

Faults ....' . 135 

“ 20—Perseverance . 137 

Summary of Golf Psychology. 138 

Final Tabulation of all Golf Fundamentals. 141 

General Summary of the Golf Swing. 142 

Conclusion Regarding the Golf Swing. 143 


li 


























GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


BOOK 4 

Seymour Dunn’s Orthodoxy of Style Illustrating and Describing 
How to Play Every Simple and Scientific Stroke in the Game 

Page 

Seymour Dunn’s Orthodoxy of Style. 147 

The Full Swing Stroke. 149 

First Position — Address . 149 

The Grip . 149 

The Stance . 157 

Preliminary Waggle . 163 

Second Position — Top of Swing. 165 

Third Position — Finish of Swing. 169 

Full-Swing Stroke with Brassie. 174 

Full-Swing Stroke with Mid-iron. 177 

Three-Quarter-Swing Stroke . 181 

Half-Swing Stroke. 184 

Quarter-Swing Stroke. ’ . 186 

Stiff-Wrist-Arm-and-Shoulder-Swing-Chip Stroke . 189 

Spared-Loose-Wrist-Swing-Chip Stroke . 199 

The Jab-Shot Stroke. 205 

Short-Jump-Out-Fxplosion Stroke . 225 

Long-Jump-Out-Explosion Stroke. 229 

Bank Shot . 232 

List of Bunker Shots. 235 

Cross-Wind Stroke. 236 

Hill-Side Stroke Up Grade. 238 

“ “ “ Down Grade. 240 

“ “ “ Ball Above Level of Feet. 242 

“ “ “ Ball Below Level of Feet. 244 

Angle Shot. 246 

Long Putt Stroke. 249 

Short Putt Stroke. 257 

Pitching Over a Stymie. 262 

A Few Proper Standard Ranges. 264 

The Science of Golf Clubs. 267 

Seymour Dunn’s Set of Clubs. 279 

Measurement Form . .:. 280 

Order Form for Golf Clubs. 281 

Specification Form for Golf Clubs. 282 

Golf Club Chart for Fitting Golf Clubs.Back Cover 


12 










































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


A SIMPLE INTRODUCTION 
TO THE GAME 


Golf is not an expensive or difficult game if gone about in the 
right way. An outfit of four correctly made and properly fitted clubs, 
brassie, mid-iron, mashie, and putter, with caddy-bag suited to a 
beginner can be bought for fifteen or twenty dollars, and if a public 
course or unpretentious club is near at hand, a lot of pleasure and 
beneficial exercise can be had with little cost. 

To excel at the game, one should go about it correctly. The 
manner of gripping and swinging the clubs is important. 

Grip There are many styles of gripping the club, any of which 
may be good, but grip must be suited to the individual. The accom- 
panying illustrations show — orthodox, natural, and the old St. 
Andrews grip. 

Always grip the club in the fingers, never in the palm of the hands 
because a keener sense of touch is possible in the fingers. Also set the 
hands correctly, i. e. see the back rather than the face of the wrists. 
Balanced effort on the part of the hands is the chief thing in producing 
good direction in the ball’s flight. 





The overlapping grip 
(orthodox) 


The best grip for weak 
hands 


The old St. Andrews grip 


13 























GOLF FUNDAMENTALS BY SEYMOUR DUNN 


Stance There are many ways of setting- the feet, any of which 
like the grip, may be good, because in all matters individuality must 
lie considered. Illustrations show the open, square and shut stance. 
When the ball sits high as when teed up, it is usually played from 
more nearly opposite the left heel; when lying fair on fairway; oppo¬ 
site the center of the two heels; when lying low as in a cuppy lie or 
bad lie, from more nearly opposite the right heel. Heels should be 
about eighteen inches apart with toes more or less turned out and body 
weight on heels. For the shorter strokes the stance is usually closer 
and more open. 


<D .2 




1—Open stance. 2—Square stance. 3—Shut stance. 


14 














GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


Swing There are also many styles of the golf swing: long, short, 
and medium, also upright, flat, and orthodox. Then again there are 
swings that are all shoulder action or all arm action or all wrist action. 
Some swings are a combination of shoulders and arms while others 
are hips and wrists, any of which may he good, but a combination 
of hips, shoulders, arms and wrists is more likely to give greatest 
distance. There are certain fundamental principles of the swing which 
the good player must observe and these are set forth in the following 
pages under the title of Golf Fundamentals. 

Tn taking up the game the first thing to do is to learn the swing. 
The best way to do this is to divide it into three positions (see illustra¬ 
tions of address, top and finish of the swing) and learn to go from one 
position to the next correctly. See Illustrations, pages 16, 18 and 20. 

First Position The position in which you set yourself as you take 
aim at the ball and prepare for the stroke is called the ADDRESS; 
you are said to be addressing the ball. 

In taking this position you first set the club so that it rests upon 
the center of the sole, the club face (the striking surface) facing exactly 
true to desired direction of play. 

Without disturbing the set of the club, set the hands in grip 
determined on and next set the feet in stance determined on. 

Stand just far enough from the ball so that your weight will be 
thrown back on your heels with the upper part of the body so set up 
that you must reach comfortably for the ball. The right shoulder 
should be lower than the left because the right hand occupies a lower 
position on the club handle than the left. 

Divide body weight equally on the two feet, flex knees slightly, 
hump back slightly sloucliv style and set head properly, i. e. eyes 
parallel with line of play. You are now ready to make the upswing. 


15 





GOLF 

FUNDAMENTALS 

B Y 

S E Y M O U R 

DUNN 




“THE ADDRESS” 


16 













GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


Upswing Pivot the body on the right liip, turning shoulders to 
exact right angles to the right. This movement should sweep the club 
back along the ground around to your right while from there it is 
carried upward to a horizontal position over right shoulder by action 
of wrists and arms to second position. Of course the turning move¬ 
ment of shoulders and upward movement of wrists and arms must lie 
blended, i. e. run the one movement smoothly into the other. 




UPSWING IN MOTION PICTURE SERIES 


17 
























GOLF FUNDAMENTALS BY SEYMOUR DUNN 


Second Position The top of of the swing. In this position weight 
should be mainly on the right heel, the hips having shifted sidewise 
to the right but without moving the player’s head from the original 
position it occupied at the “address”. This is accomplished by arching 
the back thus forming a rough crescentdike outline from back of head 
to left heel. 

The whole entire left side of the body should slump, ankle, knee, 
hip and shoulder. If the player keeps his feet within his scope of 
vision over his left shoulder, he will not be so apt to raise his head, 

because he cannot at the same 
time raise his head and see 
his feet. 

The left arm should be 
nearly straight, the right 
elbow down, both wrists 
under the club handle, the 
club head pointing down¬ 
ward, the eyes parallel with 
the line of play, both knees 
still slightly flexed, club 
shaft horizontal, parallel 
with the line of play and 
close to the back of the 
player’s head, the hands no 
higher than the head. 



18 











GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 



Downswing The liips should start to 
re-act first, then the shoulders should begin 
to unwind while the arms and club sag 
behind till the arms strike downward to the 
right, later to sweep round to the ball thus 
recovering from their sag. While the arms 
are recovering from their sag the wrists 
strike downward to the right and at the 
same time absorb the arm sag in the form 
of a twist. Thus the club head is still left 
dragging behind till the very last instant 
when snap goes the wrist twist. Thus the 
wrists recover from their sagging twist and 
with the speed of a whip lash round comes 
the club head crack on the ball and it is off 
like a bullet. 





i 

l 

i 

i 


123 



127 


124 


DOWNSWING IN MOTION PICTURE SERIES 


19 































GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 



Upswing to the Finish From the point of impact the club head 
takes the lead, body weight is completely shifted to left hip, body 
muscles now apply the breaks to the swing, club is dragging the 
shoulders round, right side of player’s body slumps, ankle, knee, hip 
and shoulder thus allowing player’s head to stay on the same level, 

back arches and forms a rough 
crescent-like outline down the 
back from head to right heel, 
shoulders turn to a right angle 
to the left, club goes up to a hori¬ 
zontal position over the left 
shoulder, parallel with the line of 
play and close to back of player’s 
head, hands to a position level 
with the head, club head points 
downward, knees slightly flexed, 
hands well out, wrists well under 
the club handle, elbows well in 
and the swing is finished, every 
motion having been blended into 
one rhythmic swing. 

Work on these matters and 
build up a correct foundation of 
the swing which you will vary in 
length to suit the different 
length of strokes required. The 
shorter swings are mere modi¬ 
fication of the full swing. 


UPSWING TO THE FINISH IN MOTION PICTURE SERIES 


20 






























GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


EXPLANATION OF THE GAME' 

T he royal and ancient game of Golf affords most 
healthful exercise to both young and old. Less 
violent than tennis, it yet offers an outlet for all the 
energy of the most vigorous and may he played without 
overstrain bv the very delicate. 

Though none are too old to learn, the age of six or 
seven is the best time to begin. While often appearing 
even foolish to those who have never played, it is in 
reality full of keenest interest. To hit the little ball is 
far from being as simple as it looks, and the game is 
not merely to hit it, but also to control its flight and play 
it, in the face of many difficulties, into a small hole with 
the fewest number of strokes. This requires an accuracy 
that in an expert is truly marvelous. 

Technically the game is to play a ball from a definite 
starting point, striking it with an implement called a 
club, into a distant small hole, d 1 /^ inches in diameter; 
the object being to put the ball into the hole with the 
fewest possible strokes. 

In a full course there are 18 starting points and 
a like number of holes. Every starting point with 
corresponding hole, ground between, and everything 
directly pertaining to it is known by the same number. 

The various features of a hole are: 

1 The starting point, called the “tee” or “teeing 
ground”. 


21 






GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


2 The terminal point or hole, a cvlindric socket 414 
inches in diameter. 

3 The “hazards” of which there may be several at 
one hole, and none at another, tho usually found in some 
form at every hole. A “hazard” is any path, road, tree," 
bush, fence, ditch, sand hole, brook, pond, etc. Where 
nature does not furnish enough, artificial ones are made, 
generally earth banks with a trough on one or both sides. 
A little sand is usually put into the trough to make 
the playing more difficult. Such hazards are called 
“bunkers”. There is frequently a bunker at the side of 
the direct line to the hole to punish badly directed 
strokes; on some courses there are hazards waiting to 
catch almost every poorly played stroke. 

4 The “putting green” is all ground except hazards, 
within 20 yards of the hole, kept in specially good condi¬ 
tion, as the short strokes to be played close to the hole 
require such a delicate touch that any irregularity or 
course grass would render good play impossible. 

5 All the smooth turf between “tee” and “putting 
green” is the “fairway”. These five principal features 
from any tee to corresponding hole are together spoken 
of as a “hole”; e. g. the first hole means teeing ground, 
hazards, fairway, putting green, and the hole itself. 

There is no hard and fast rule governing the length 
of all holes, in fact, a chief object in planning golf courses 
is fo have no two holes alike either in length or character. 
They are laid out according to the natural undulation of 
the land, and such things as ditches, ponds, sand holes, 
roads, etc., are all considered and utilized as hazards. 


22 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


The line to the holes and location of the tees are 
arranged so that these hazards will not he in the way of 
a properly played stroke, yet so that they will draw out 
a player’s best. Unless his direction of play and judg¬ 
ment are good, his ball will probably lodge in a hazard,— 
the just reward for poor play. Properly placed hazards 
tax the skill of advanced players, but spare beginners. 

The game is played by two sides, each playing its 
own ball, a “side” consisting of either one or of two 
players. If one player plays against another the match 
is called “a single.” If two play against two, each side 
playing one ball, the match is called “a foursome”. If 
one plays against two playing one ball between them, the 
match is called “a threesome”. 


When three players play against each 
playing his own ball, the match is called 


other, each 
a tliree-ball 


match”. 

When one player plays his ball against the best ball 
of two or more players, the match is called “a "best-ball 
match”. 

When two players play their better ball against the 


better ball of two other players, the match is called “a 


best-ball, four-ball match”. 

Holes are played in rotation, starting at number one. 
Who shall start first is decided by lot. To start first is 
to have what is termed the “honor”. After playing your 
ball by swinging strokes from tee to hole, in succession 
with your opponent, you lift your ball out of the hole 
and go to the next tee and so on round the entire eighteen 


* Best-ball means the lowest score. 


23 






GOLF FUNDAMENTALS BY SEYMOUR DUNN 


holes. This is termed a round and constitutes a sranie 

Cj 

or match, occupying about 2^2 to 3 hours, a morning or 
afternoon of healthful exercise with a golfer’s appetite 

for lunch or dinner as a result. A hole is won by the 

•/ 

player or side who puts the ball into the hole with fewest 
strokes. The winner of a match is the player or side who 
wins the most holes. 


Such are the salient points of the game. To play 
it skillfully many different kinds of strokes must be 
mastered. These strokes are played with various clubs, 
each for a particular kind of stroke. 

The manner of swinging the club is of the greatest 
importance. It may seem very simple to the uninitiated 
to strike the ball and send it flying, and it is to an expert, 
but before anyone can reach that standard every detail 


of the action of swinging a golf club must be studied. 
Learn the fundamental principles and then by careful 
practice learn to adapt them to your individuality. There 
is a proper way of handling and wielding a golf club 
which is known as the “Golf Swing”. 

There are several variations of the Golf String and 


they may he divided into three classes: 

1 The long swing with the longer clubs for pro¬ 
pelling the ball the greatest possible distance, called the 
full-swing. 



used with the shorter clubs when within range of the 
hole, called the approach-shot swings. 

3 The shortest swing of all used when the ball lies 
but a few feet from the hole, called the putting-swing. 


24 






GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


These various swings should be dealt with separately, but 
first the swing in general and its fundamental underlying 
principles must be understood, as these same principles 
are the foundation on which all swings are based. 


The differences of the several swings are mere varia¬ 
tions of these fundamentals, which underlie (perhaps 
unconsciously) every golfer’s swing and cannot be 
violated in the slightest degree with impunity. 

Tlio these principles themselves are invariable, their 
application may vary widely. This is a point to be 
emphasized very strongly because many do not under¬ 
stand it. There are no two beings precisely the same 
either in physique, strength or mentality; therefore, no 
one should even try to imitate in every detail the style 
of any other player. You may work on similar lines, but 
to attempt to imitate any other golfer in every detail 
would be hopeless and absurd. A short fat man cannot 


play the same style as a tall slim man, any more than he 
can expect to wear the same clothes. 

Develop your game in your own style but work on 
the fundamental principles on which all good golfing 
swings are based. 

Read all books written on golf, and take all the 
lessons you can, as a broad knowledge of the game is of 
the utmost importance. Tho there are many books 
written bv men who never studied or knew anything of 
the true principles of the golfing swing, and many more 
instructors in similar plight, still it will do you good to 
read books, and take lessons. But when taking lessons 
from unscientific instructors use your own judgment as 


25 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


to wherein they are right, forgetting immediately every¬ 
thing that does not appeal to yon as sound and logical. 

When reading or taking lessons, never for a moment 
forget the principles on which all correct golfing swings 
are based, whether your instructor or author under¬ 
stands them or not. Often a golfer of ardent enthusiasm 
pursues every detail of some famous golfer’s style quite 
regardless of whether it suits him, and consequently 
never plays any better. Were he instead to study 
carefully the fundamentals of the golf swing and the 
details of the styles of our best players, experimenting 
only with such of their methods as appeal to him as being 
natural, and then work out the rest under guidance of a 
capable instructor, he would make rapid progress. Some 
who have played constantly for 10 or 15 years with no 
improvement because of trying to adopt some other man’s 
style, begin to improve just as soon as the fundamental 
principles of the swing and the methods suited to them 
are made clear. So begin right by studying the principles 
first, and then place yourself under guidance of the most 
competent teacher you can find, so that progress will be 
rapid, sure and lasting. You will get pleasure out of the 
game which those who have begun wrong know nothing 
of, since the game to them means little more than hitting 
at a ball, instead of accurately directing and controlling 
the ball’s flight. 

Another common mistake of beginners is to buy at 
once a set of golf clubs, which generally find a place on 
the wall as ornaments or are thrown into some dark 
corner. As there are no two persons alike, either in 


26 





GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


physique or strength, and as there are no two golf clubs 
exactly the same, either in weight, length of shaft, 
springiness, or angle of set, every player must choose 
those which will suit him exactly even to the smallest 
detail. If you are a beginner do not buy a set of golf clubs 
at once, but borrow or hire one for a while till you know 
what suits; then either select clubs from a good stock, or 
still better, get your instructor to do it for you. A good 
and conscientious instructor will be just as much con¬ 
cerned in the selection of your clubs as you would be 
yourself, since his work of making a player out of you 
will be much easier for him if you have fitting clubs with 
which to play. 

The best way to fit clubs is to have your measure¬ 
ments properly taken and clubs made specially for you 
according to specifications. Read my article, “Science 
of Clubs”, see contents and study my club chart. 

For measurement blanks, write Seymour Dunn, 
Lake Placid, New York. 









( 


GOLF FUNDAMENTALS BY SEYMOUR DUNN 


PEGS ON WHICH TO HANG YOUR 
GOLF THOUGHTS 

N OT- all of us are blessed with a superabundance of 
natural ability for the roval and ancient game, but" 
what we lack in this respect we can largely make up for 
by scientific study and practice. Briefly, the secret of 
success is: be consistently accurate in play rather than 
occasionally brilliant; be methodical and systematic, both 
in vour choice of implements and in your manner of using 
them; have a theory by which to work in solitary practice; 
and by practice of proper theory, become naturally cor¬ 
rect; then when you go to play a match game, leave theory 
iu your locker and play naturally. 

Know the science of the Golf Swing and the essential 
features that constitute: 

1 Full-swing stroke 
2 Three-quarter-swing stroke 
3 Half-swing stroke 
4 Quarter-swing stroke 
5 Heavv-lie-chip stroke 
6 Good-lie-chip stroke 
7 Cupped-lie-jab stroke 

8 Abnormally-liigh-trajectory-under-cut stroke 
9 Curve-to-right-cross-cut stroke 
10 Curve-to-left-cross-cut stroke 
11 Push-shot stroke 


29 






GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


12 Dead-stop stroke 

13 Short-jump-out-explosion stroke 

14 Long-jump-out-explosion stroke 

15 Bank shot 

16 Cross-wind stroke, wind from right 

17 Cross-wind stroke, wind from left 

18 Hillside stroke, up grade 

19 Hillside stroke, down grade 

20 Hillside stroke, ball above feet level 

21 Hillside stroke, ball below feet level 

22 Angle shot 

23 Long-putt stroke 

24 Short-putt stroke 

25 Stymie pitching stroke 


30 







3 



4 The arc described by the club head 
during the swing as seen from overhead 


31 




















GOLF FUNDAMENTALS BY SEYMOUR DUNN 


PRELIMINARY ANALYSIS OF THE 

GOLF SWING 

What is our working theory of the golf swing to be? 

If we study the swing of any good player prac¬ 
tising, we find the ball is struck unerringly, and with such 
regularity that we get the impression the whole thing is 
automatic. It is automatic and lias a mechanical founda¬ 
tion; so far so good. Next, what are the mechanics? Let 
us analyze the swing bv aid of geometry. A\ T e observe 
that the golf club head describes an arc in the up-swing 
and redraws the same arc in the down-swing returning 
to its starting point. Take an ordinary drawing compass 
such as draftsmen use and with it draw an arc; redraw 
this same arc; what are the essentials in the compass 
necessary to the redrawing of the same arc? There are 
two. The pivotal point of the compass must be placed 
in exactly the same place it occupied at the first drawing 
and kept there for if this point slips or moves out of place 
you are lost. Essential 1 is a steady center properly 
placed. 

The radius of the compass must be the same if that 
arc is to be redrawn precisely the same; therefore, w r e 
must set our compass at the proper radius and keep it 
at that same radius tliruout. For if the radius is con¬ 
tracted or extended it must necessarily spoil the arc. 
Essential 2 is maintain a proper radius. See illustra¬ 
tion 2, page 31. 

On close observation we notice the golf club head 
does not describe a true circle but an ellipse; nevertheless 


32 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


it is a true ellipse which shows that the radius is governed. 
This complication will be dealt with later. 

We will now observe the fact that the arc of the club 
head’s swing is neither a horizontal nor a vertical arc but 
all on a slope; it is oblique, and this obliquity is all in a 
plane. See Illustration 3, page 31. 

Here then, we have another essential, as it is obvious 
of course that the oblique plane of the swing must line 
up with the ball in order to hit it. Essential 3 is: swing 
the club in a plane of obliquity that lines up with the ball. 

A geometrician will now see that if the foregoing 
three essentials are observed in the golf swing the center 


of the club face must strike the center of the ball and if it 
fails to do so then one or more of those essentials must 
have been violated in which case it is up to the student to 
find out which and by aid of the instructor to correct it. 

The striking surface of a golf club (called the face) 
may seem to the beginner a very small area with which 
to strike the ball. As a matter of fact it is really a very 
liberal area since the shot will be no good unless the ball 
is struck with a certain central point no larger than a pin 
point, to strike with other than the exact center of 
gravitv would cause the ball to curve oft its course. 

In order to send the ball in a given direction there 
are two other essentials which must be observed: The 
horizontal diameter of the arc of the swing must be in 


parallel with the direction of play. See Illustration 4, 
page 31. Essential 4 is— swing club in parallel with line 
of play. 

The club face must face square to the desired direc¬ 
tion of play at the moment of impact. Essential 5 is— 
strike with square impact. 


33 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


So much for the geometry of the golf swing. We will 
now briefly analyze the physical movements involved. 
We find the golf swing is one united effort, the result of 
four properly blended movements (a) shoulder move¬ 
ment, (b) hip movement, (c) arm movement, (d) wrist 
movement. 

For preliminary analyzing purposes the swing 
should be divided into two principal combined move¬ 
ments: (1) The lateral movement created by (a) the 
round about movement of the shoulders and (b) the side- 
wise action of the hips. 

(2) The vertical movement created by the upward 
and downward action of (c) the arms and (d) the wrists. 
From geometric analysis we find that the arc of the golf 
club head was an oblique ellipse, and we know from 
geometrv that this is to be had bv blending lateral and 
vertical curves. The combined movements of the hips 
and shoulders cause the club head to describe a lateral 


curve, like the curve described by a scvthe in the hands 
of a man mowing. 

The combined movements of the arms and wrists 
cause the club head to describe a vertical curve like the 
curve described by a sledge hammer in the hands of a 
blacksmith striking downward upon an anvil. In the 
golf stroke we find the scythe and sledge hammer strokes 
blended into one stroke. The student should prove this 
point immediately by taking a golf club in hand and 
addressing a ball. See Illustration 5. Imagine you are 
going to strike the ball not in regular order of the golf 
stroke but that the ball is to be flattened out on the 


34 








35 












































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


ground like a pancake, just as the blacksmith flattens out 
iron on the anvil. Eaise the club to the right shoulder 
exactly as a blacksmith would lift a sledge hammer 
straight up in front of him over his right shoulder and 
pause in your position at the top of this act. See Illustra¬ 
tion 6, page 35. The club head has described a vertical 
curve and your arms and wrists have done exactly what 
they do in the golf swing. Hold this position keeping 
club and arms in the same position relative to the 
shoulders and now turn the shoulders to the right turn¬ 
ing arms and club with the shoulders and vou find your- 
self at the top position of the golf swing. See Illustra¬ 
tion 7, page 35. 

Next unwind the shoulders returning to position 
shown in Illustration 6 and now bring the club down to 
the first position assumed, illustration 5. Now again 
raise the club like a blacksmith but this time over the left 
shoulder and when you have completed this vertical 
movement turn the shoulders to the left and vou find 
yourself at the finish of the golf swing. See Illustration 
8, page 35. 

It is the proper blending of these two principal 
movements the round about; and the up and down that 
make the golf swing. 

\ on now have the whole sum and substance of the 
golf swing. T\ e have of course done the swing in the 
order of putting the cart before the horse. This was done 
for the purpose of analysis. Our next step is to properly 
hitch the horse to the cart. Since the golf swing is a thing 
which requires great exactness, we must go verv deeply 
into the matter hi order to understand it completely. 


36 








GOLF FUNDAMENTALS BY SEYMOUR DUNN 


SUMMARY OF PRELIMINARY ANALYSIS 

By closely observing the following mechanical prin¬ 
ciples you are certain to improve, and by analyzing 
your strokes according to these mechanical principles, 
you can find a clear and logical explanation for any and 

all vour troubles. 

*/ 

To dispatch the ball correctly in a given direction we 
must have the three following essentials: 

1 Strike with the center of the club face. 

2 Club head must be travelling in the direction 

of play during the impact. 

3 Club face must be at right angles to the direc¬ 

tion of play. 

To insure these ends we should build up our swing 
on the following mechanical principles, and we should 
regard these mechanical principles as the mechanical 
laws of our swing. 


Mechanical Principles 


Failure to accomplish 
Essential 1 is clue to 
violation of one or more 
of these three 


1 

2 

3 


Maintain a steady swing center. 
Maintain a proper swing radius. 
Swing club in a proper plane of 
obliquity. 


4 Swing club parallel to intended direction of 

play. 

5 Club face must be controlled so that it is 

square to the intended direction of play 
at the moment of impact. 

These principles are all set forth in this series of 
lessons and each lesson should be mastered before pro¬ 
ceeding to the next. By mastered, I mean not merely 
understood but practiced till physical application has 
become second nature—unconscious habit. 


o — 
O I 








GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


MECHANICAL LAWS OL THE 
GOLE SWING 

Meaning only those things which have to do with 
the order of our movements 

FUNDAMENTAL 1 


A Steady Swing Center 

A steady center is essential to a steady swing. 
Center of shoulders is center of swing. 

Proper body action will keep center steady. 

If player’s head is steady, swing center will he steady. 

Warning—the best of inten- 
FUNDAMENTAL l tions sometimes fail; therefore, do 
Keep Your Head Steady not be too sure of what von do. You 

may feel sure your head did not 

move, while it actually moved several inches. 

This applies alike to all the following: 

If the player’s head is to be kept steady, the player’s 
body must turn on a pivot. Since the human body has 
two pivotal points, i. e., the hip joints, and since it is 
impossible to pivot on two points at the same time, we 
must choose between them, as experience has taught us 
that it is no use attempting to pivot upon an imaginary 

pivotal center between the two. 

A close study of our greatest golfers reveals the fact 
that when they turn their bodies to the right they pivot 


39 







9 FIRST OR ADDRESS POSITION 


10 SECOND OR TOP OF SWING POSITION 

Note position of right hip. projecting 
outward 




11 THIRD OR FINISH OF SWING 
POSITION 

Player’s head has and should move forward 
with follow thru movement 



12 HOW NOT TO SWING A GOLF CLUB 

Wrong hip action throws player's head out 
of place. Note position of right hip 
—drawn in. Compare with 
Illustration 10 


40 






































13 Note position of right hip at top of swing; 
projecting outward. An aphorism worth remember¬ 
ing; when you swing to the RIGHT, project your 
RIGHT hip out to the RIGHT 



14 Note position of left hip at finish of swing; 
projecting outward. Another important aphorism; 
When you swing to the LEFT project your LEFT 
hip out to the LEFT 


41 
















GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


upon the right liip, and when they turn to the left they 
pivot upon the left hip. They shift from one hip to the 
other, yet they do this without moving their heads, by 
shifting the middle part of their body weight only. 

To shift the pivotal center, we must shift our center 
of gravity. To pivot on the right hip we must shift the 
greater part of our body weight to the right foot, and 
shift it to the left foot to pivot on the left hip. All this 
body weight shifting movement is done with sidewise hip 
action. 

At the address position of the golf swing, the player’s 
weight is equally divided between the two feet. Then as 
the upswing starts and the player’s body has to turn, the 
player’s right hip is projected out to the right slightly so 
that the right hip may become the center of gravity and 
thereby the pivotal center. Reaction sets in on the down¬ 
swing and the player’s left hip is shot out as the swing- 
progresses to the finish. 

This hip action is of the greatest importance for 
reasons other than its being the chief secret of the knack 
of keeping the player’s head steady. As the illustra¬ 
tions show, it is the most powerful position into which 
vou could get your body, but I will deal more fully with 
this point under “Dynamic laws of the golf swing”. I 
desire to emphasize here that if the hips go out in proper 
turn, the player’s head will not sway. Study Illustration 
14, page 41, and try to imagine a player projecting left 
hip and head to the left at the same time. It is impossible. 
You would lose your balance completely. You cannot 
project both hip and head in the same direction at the 


42 







43 








































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


same time. When you project your left hip to the left 
at the finish of the swing you naturally lean to the right 
to preserve your equilibrium. So too, with the right hip, 
at the top of the swing you will lean to the left, thereby 
keeping your head steady and gaining the maximum of 
power. 

The next important action which has a very great 
bearing on the steadiness of the player’s head is the 
shoulder action. The shoulders should work in a plane 
perpendicular to their axis which is the upper section of 
the spinal column. See Illustrations 15-16-17-18-19-20, 
page 43. 

If we did not stoop over when we played golf but 
stood erect, our shoulders would rotate in a perfectly 
horizontal course. But we do. We stoop over; the upper 
section of our spinal column which is the axis about which 
the shoulders rotate is somewhat oblique and therefore 
the shoulders work in an oblique course about their 
oblique axis. 

The shoulders do not work in the same plane of 
obliquity as the club, but in an oblique plane of their own. 
The one must, however, work in perfect harmony with 
the other, as the slightest error on the part of the 
shoulders will upset the oblique plane of the club head’s 
course. 

The precise angle of obliquity in which the shoulders 
should work is fixed by the player’s style of play, i. e., the 
amount of stoop assumed at the address. 


44 









a 

v 

X 

V 

±-> 

OX) 

c 

’> 

o 

£ 


^ c 

h a ~ 

o T3 

1-Q (U 
r 1 

<L> ^ 

~£ o 

^ 4_» 

si 

0 jC 
u 

° n 
•M O 

C/D v +-< 

So 2 

3 5 

£ 4 -. 

_ X 

_M 

"S 

£ 


rt 


v) 

C 

'rt 3 

t O 

>• 

2 ^ 

.a x 

^ C/D 

o 

_c 

U 

,1c 

& 


i) 

»-< 

C/D 

V 

CQ 


u 

OJ 

X 

QJ 

OX) 

_C 

u 

u 

.0 


< 


45 


crescent like outline down the back 





























GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


OTHER POINTS TO OBSERVE TO AVOID 
MOVING THE HEAD 

1 Keep weight on heels to avoid rising on toes. 

2 Knees should be slight!v Hexed and degree of 
flexure not changed during swing. 

3 Amount and direction of spinal bend should 
remain unchanged thruout swing. 

I At Top and Finish of swing your feet should be 
within your range of vision, first over the point of the left 
shoulder at Top of swing, and at Finish over the right. 
See Illustrations 13 and 14, page 41. Mere I to glance 
downward in the direction of my feet I would be able to 
see them without changing my waist bend or body 
position. 

5 Form a rough crescent-like outline down the 
back from back of head to left heel at Top of swing. To 
right heel at Finish of swing. See Illustrations 10 and 
11, page 40. 


46 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


FUNDAMENTAL 2 

Maintain a Proper Swing Radius 

\ 

Left Arm is Master Arm 

To maintain swing radius, keep left arm stiff at 
elbow joint. Note that I do not say straight but stiff. 
Just how straight or bent the arm might be is a mere 
matter of individual style. My point is not to change its 
bend. Fundamental 2 is maintenance of swing radius. 

The triceps muscle keeps left 
FUNDAMENTAL 2 arm straight. Train it to do so, 
Keep Your Left Arm become conscious of this muscle 
Stiff tensing. A good way to become 

conscious of its presence is to go to 
the Top of the swing, stiffen the left arm as straight as 
possible, ask your instructor to try to bend your arm 
while you resist, then with your right hand feel for the 
two principal heads of this muscle. The larger head will 
be found well under the arm close to the armpit, the 
other lies across the outside of the upper arm like a finger. 
See Illustrations 28 and 29, page 50. 

Illustrations 24, 25, 26 and 27, page 49, show the 
rigidity of the left arm at various stages of three dif¬ 
ferent swings. 

Of course the swing is not a true circle; it is elliptic, 
due to the wrist action. The wrist action, however, is not 
likely to spoil your radius work, while the bending of the 
left arm is certain to. It is also certain to cause great 
loss of power, since the left arm should act as a lever. A 
lever that breaks in the middle is no lever at all. 


47 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


Tlie golf stroke is the result of a combination of lever¬ 
ages—it is compound leverage. The club is one lever 
actuated from the left wrist. The left arm is another 
lever actuated from the shoulder joint. The left shoulder 
is another lever actuated from the spinal column. The 
right shoulder, right arm, and right hand operate or 
drive thru the club, left arm, and left shoulder levers. 

Another argument in favor of keeping the left arm 
stiff at the elbow is that it permits a more extensive wrist 
action. Bend the elbow at the top of the swing and the 
wrist must fail to bend by just so much. Wrist action is 
worth more than elbow action because it is speedier. 


48 






24 Address for quarter swing 
Note: Rigidity of left arm 





25 Top of three-quarter swing 
Note: Rigidity of left arm 






























28 Triceps muscle of the left arm 



29 Pupil locating the triceps muscle 
50 

















GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


FUNDAMENTAL 3 


Swing Club in a Proper Oblique Plane 


The golf swing is all on a slope, i. e., it is Oblique. 

Right arm controls obliquity. 

Club head travels in an obliquely elliptic course 
about the player’s head. 

Obliquity is determined by distance of ball from 
player, and the style of the player’s swing, i. e., flat, ortho¬ 
dox or upright. 

Club should travel not merely in an oblique course 
but in an oblique plane which must pass thru the 
center of the ball. To be orthodox, hands and club head 
should be in the same plane with the swing center and 
the ball. 


The oblique plane of the swing varies greatly in the 
matter of style. A short player of powerful physique 
using longish clubs would stand further from the ball 
than a tall player of slender physique using shortish 
clubs. The degree of obliquity would be more upright 
for the tall player, and flat for the shorter player, and in 
every case if club heads, hands, swing center and hall be 
all in the same plane, the swing is orthodox on this point 
whatever the degree of obliquity may be. 


The degree of obliquity varies not only with different 
players, but with each individual. With the shorter clubs 
such as the masliie, we make a more upright swing 
because we stand nearer the ball; swing center is more 
nearly over the ball, and therefore the plane from ball to 
swing center is more upright, and the club head, and 


hands should work in this same plane. 


51 







GOLF FUNDAMENTALS BY SEYMOUR DUNN 


Illustrations 32 and 33 show wliat is known as the 
Hat swing: club head, hands and ball are all in the same 
plane tho not in a plane with the shoulder center. This 
kind of swing is all right; it will produce good results, 
because it is mechanically correct, merely slightly 
unorthodox in style. Restricted vertical arm action 
is the cause of a hat swing. Study Illustration 30. 
The upward arm action lias elevated hands and club 
heads more than the hat swing shown in Illustration 32. 
Had there been a little more upward action of the right 
arm in the swing shown in Illustration 32, the swing 
would not have been hat. 

I emphasize the right arm because while the left arm 
must necessarily also rise with the right, the right arm 
is the controlling arm so far as the oblique plane of the 
swing is concerned. 

Too upright a swing is fre- 
FUNDAMENTAL 3 quently the cause of overswinging. 
Right Arm Must Glide h e. swinging the club back over the 
Club Thru a Proper shoulder beyond horizontal. When 
Slope overswinging is due to this, the cure 

is obvious—restrict the upward 
action of the right arm. Overswinging is never caused 
by excessive backward bending of the wrists, but only 
by bending the left elbow or raising the hands too high. 
You cannot bend the wrists back too far. Illustrations 34 
and 35, page 55 show a flat swing which is worthless, being 
both unorthodox and mechanically incorrect. The club 
would not connect with the ball at all. These illustrations 
are given to show the common cause of topping the ball 


52 






30 Near TOP of mechanically correct swing; 
club head, hands, center of shoulders, and ball 
all in line. Orthodox style 



31 Near FINISH of mechanical correct swing; 
club head, hands, center of shoulders, and ball 
all in line. Orthodox style 




32 Near TOP of flat swing. Mechanically cor¬ 
rect, but unorthodox style; swing too flat 


33 Near FINISH of flat swing. Mechanically 
correct, but unorthodox style; swing too flat 


When swing is made as in illustrations 32 and 33 results should be good, because: while unorthodox in style, 
mechanical essentials are correct; club head and hands are in a plane with the ball 


53 


























GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


with the liee] of tlie club, which would be the result if this 
fault were not carried to the extremity shown. The club 
always follows in the plane of the arm action, indicated 
by the line of the shaft. Place a straight edge along 
the line of the shaft on Illustration 34, 35, 38, 39, 40, and 
41, and it will be found that club head and hands are not 
in the same plane with the ball, and therefore the swing 
is mechanically incorrect and it would be unreasonable to 
expect satisfactory results. In illustrating these faults I 
have exaggerated them so that the student will readily 
see the point. Err ever so slightly in these directions and 
the resulting ball’s flight will be unsatisfactory. 

Players sometimes fall heir to a persistent malady, 
and for lack of understanding cannot cure it. “Socket¬ 
ing" the ball with iron clubs is frequently due to too flat 
a swing. 


54 






34 Near top of flat swing, which is both unortho¬ 
dox and mechanically incorrect 


When swing is faulty as in illustrations 34 and 35, result: 

Cure: make swi 



35 Near finish of flat swing, which is both unor¬ 
thodox style, and mechanically incorrect 


if any, will be a topped ball off the heel of the club 
mere upright 



36 Near top of upright swing. Mechanically cor¬ 
rect, but unorthodox style; swing too upright 


37 Near finish of upright swing. Mechanically cor¬ 
rect, but unorthodox, swing too upright 


When swing is made as in illustrations 36 and 37, results should be good because, while iftiorthodox in style, 
mechanical essentials are correct; club head and hands are in a plane with the ball 


55 





















GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


Illustrations 36 and 37, page 55 show the upright 
swing which tlio unorthodox is mechanically correct— 
center of club head, hands, and ball are all in the same 
plane. Note elevated position of hands relative to height 
of swing center, and compare with the Hat swing shown 
in Illustrations 32 and 33, page 53. 

Unorthodoxy of swing in the matter of uprightness 
or flatness comes from too much or not enough vertical 
arm action. 


56 







38 Near top of upright swing, which 
is both unorthodox style and mechani¬ 
cally incorrect 


39 Near finish of upright swing, 
which is both unorthodox style and 
mechanically incorrect 


When swing is faulty as in illustrations 38 and 39, results: if any, will be off nose of club, and there will be 

“>Sclaff:ng”, i. e. pounding the ground with the sole of the club 




40 Near itop of upright swing, which 
is both unorthodox and mechanically 
incorrect 


41 Near finish of upright swing, 
which is both unorthodox and me¬ 
chanically incorrect 


Illustrations 40 and 41 show club head in line with ball and shoulder center but hands are not. Violations of plane 
of obliquity shown in illustrations 38, 39, 40 and 41 cause “Sclaffing”, and ball if struck will be struck with nose 
of club 


57 


























GOLF FUNDAMENTALS BY SEYMOUR DUNN 


FUNDAMENTAL 4 

Swing in parallel with line of play 

The club should swing in parallel with the line of 
nlav. 

X 

Properly blended lateral motion controls the parallel 
of the swing. 

Lateral motion is created chiefly by the shoulder 
rotary action. 

M e may therefore regard the shoulder rotary action 
as the predominating factor in the control of the parallel¬ 
ism of the swing. 

Side action of the arms and twisting of the wrists 
will also create a lateral motion, but the chief work of 
the arms and wrists is to create vertical motion, t he 
shoulder rotary motion converts the arm and wrist verti¬ 
cal motion into a parallel swing. The shoulder rotary 
motion creates a round about scythe-like sweeping 
motion, while the arms and wrists create an up-and-down 
hammering-like motion. Lt is the proper blendinp 01 
co-ordination of the combined arm and wrist upw aid-aiid- 
downward movements with the shoulder-round-about 
movement that makes a parallel swing. To be orthodox 
in the full swing shoulders should turn exactly 90 each 
way. This leaves the arms and wrists free to make a 
purely upward and downward hammering motion. 1 luis 
you gain the maximum of power from all. The extent of 
the lateral motion each way must always be equal, to 
make the swing parallel. By varying the extent of the 
vertical motion we vary the length of our different 

strokes. 


59 





OLF FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


FUNDAMENTAL 4 
SHOULDERS MUST 
A 


It is the proper extent of lateral rotation ( each v a) 
right and left) done at the proper time and at the proper 
speed in relation to the up and down motion that make s 
proper blending. 

Illustrations 42, 43, 44, and 45, gives a good idea of 
what is meant by making the swing parallel with the line 
of play. These pictures were taken from overhead. 

Illustrations 46, 47, 48 and 49, 
page 63, show what is meant by a 
swing being out of parallel. This is 
a very common fault which causes a 
chronic curved flight to the right, 
or a misdirected flight straight out 
to the left of intended direction, 
depending on how the hands work. 
Frequently a player might make a 
swing in which during the upswing 
and at the top of the swing all 
has been in perfect parallel, but 
on the way down the shoulders might race ahead 
too much and swerve the club out of the proper 
parallel. This brings the club into contact with the ball 
before the wrists have fully recovered from their sag and 
this combination causes a slice. The ball starts out to 
the left of the direct line and swerves round to the right. 
If the club head is not sagging behind at the point of 
impact, the result will be a misdirected ball starting out 
to the left and continuing straight on out to the left; but 
generally the club head will be behind because the racing 
ahead of the shoulders disorganizes the timing of the 
swing. 


Turn to a Proper 
EXTENT each way 
Turn at a Proper 
TIME 

Turn at a Proper 
SPEED 

to guide club along the 
line of play 


B 

C 


60 








43 PART WAY DOWN Correct parallel 



44 PART WAY UP TO FINISH Correct parallel 



PARALLELISM OF SWING 

Pictures taken from overhead thru the oblique plane of the swing 


61 






















GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


Illustrations 50, 51, 52 and 53, page 65, show a swing 
out of parallel the other way. This causes either a mis¬ 
directed flight straight out to the right of intended line 
of play or a curved flight to the left, known as a 
hook. The hook is the most likely result. The wrists in 
this case are apt to get the club head thru too soon for 
since the shoulders have turned too far to the right they 
are behind in their action and thus disorganize the timing 
of the swing. 


62 






46 TOP OF SWING 


Incorrect; out of parallel 



47 PART WAY DOWN Incorrect; out of parallel 



48 PART WAY UP TO FINISH Incorrect; out of parallel 



49 FINISH OF SWING 


Incorrect; out of parallel 


Incorrect Swing: Out of parallel, generally destroys the timing of the wrist snap and makes their action sluggish. 
This combination of errors results in a form of swing commonly known as diagging across the ball, causing a s 
in which the ball starts out to left of direct line of play and curves around to right, 
enough to the right at top of swing, and too much to the left at finish. 


Shoulders did not turn 
Pictures taken from overhead 


63 

















50 TOP OF SWING 


Incorrect; out of parallel 



51 PART WAY DOWN 


Incorrect; out of parallel 



52 PART WAY UP TO FINISH Incorrect; cut of parallel 



53 FINISH OF SWING Incorrect; out of parallel 


Incorrect Swing: Out of parallel, generally destroys timing of wrist snap and makes their action too vigorous to 
balance the shoulder effort. This combination of errors results in a form of swing commonly known as shoving 
across the ball, causes a hook; ball starts out to right of direct line of play and curves around to left. Shoulders 
turned too far to the right at top of swing, not far enough at finish 













GOLF FUNDAMENTALS BY SEYMOUR DUNN 


FUNDAMENTAL 5 


Strike frith square impart 


During impact, club face should be at right angles 
to the desired direction of the ball’s flight. 

Hand mastery over club controls this. 

Prevent both “supination”, and pronation” of club 
face. Correct set of the hands controls this. 

“Pronation” means to turn the club face Prone, i. e., 
face downward. 

“Supination” means just the opposite, i. e., face 
upward. 


FUNDAMENTAL 5 

Hands Should Control 
the Angle of the Club 
Face. 


Correct set of the hands varies 
with the individual. Different indi¬ 
viduals have different peculiarities 
of forearm development. A tend¬ 
ency to “slice” or “hook”, might be 
corrected by a certain set of the 
hands. 


“Slice” is only that part of the ball’s flight in which 
the ball curves to the right. A ball driven straight out 
to the right is not sliced, but merely a misdirected flight. 
“Hook” is only that part of the ball’s flight in which the 
ball curves to the left. A ball driven straight out to the 
left is merely a misdirected flight. 

Illustration 54, page 67 shows the orthodox 
“Setting” of the two hands. 

The “Set” of the hands means the extent to which 
they are set over or under the club handle. It will be 
seen in this illustration that the two angles formed by 


65 





GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


the thumb and fore part of the hand are like inverted Y’s 
with the point pointing straight upward to the player’s 
head. Illustration 55 shows the two Y’s pointing to the 
player’s right shoulder. Illustration 56 shows the two 
Y’s pointing to the player’s left shoulder. 

Some players, especially beginners, are very prone 
to allow the hands and consequently the club face to twist 
at the instant of impact, as shown in Illustration 55. 
There are two causes for this: 1 Insufficient effort on the 
part of the hands to control the angle at which the club 
should face during the impact. The resulting flight is 
a slice, with excessively high trajectory in which the ball 
starts immedately out to the right of intended direction 
of play. When the club faces as shown in illustration 55, 
it is said to have “supinated”, and causes this particular 
class of slice. 

2 Incorrect set of the hands will also cause the 
club face to supinate at the moment of impact. The cure 
is obvious—the hands must either make greater effort 
to control the facing of the club at the point of impact, or 
be set with the Y’s pointing more nearly towards the 
right shoulder at the outset when taking the grip of the 
club, with club facing square to the desired direction of 
play. This might be the only proper setting of the hands 
for the particular individual concerned, and because this 
is perhaps the natural way for the hands to act when the 
muscles of the forearms are placed under the intense 
tension of the stroke. There are muscles in the forearms 
known as the “Supinators which turn the hands 
palm upward, and the “Pronators” which turn the 


66 








54 Square impact. Orthodox set of the hands 


55 Supination impact. Causes excessively high 
trajectory, misdirection to right and slice. 



56 Pronation impact. Causes smothered flight: 
ball starts out to left curving to left and ducks 
downward. 



57 Collapse of left wrist. Causes immediate mis¬ 
direction to right, low trajectory and slice. 


67 






































GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


hands palm downward. These muscles control the angle 
at which the club faces. 

Some people are very peculiarly developed in these 

muscles having one of them considerably stronger than 

the others, due perhaps to some peculiar occupation. 

Naturally the stronger muscle exercises a greater 

influence over the hands than the weaker, and therefore 

twists the hands and consequently the club face in its 

particular direction of action. The pronators of the right 

arm would naturally pronate the club face, i. e., turn it 

prone or face downwards. This is why no hard and fast 

rule can be laid down as the correct set of the hands 

that will hold good for all players. Some players are very 

prone to pronate excessively with the Pronator Radii 

teres muscle of their right forearm at the instant of 

impact, which imparts a smothered, hooked flight to the 

ball. The ball starts out to the left and curves vet further 

%/ 

to the left, and suddenly ducks downward, running a 
good distance along the ground. 

There are two cures for this fault but first must be 
determined the real cause. The causes might be: 1 Right 
hand is overruling the left hand, because the left hand is 
allowing it to. The cure is—grip firmer with the left 
hand and looser with the right. 2 One or both hands 
may be set wrongly, the two V’s being set so that they 
point too much towards the right shoulder, and during 
the stroke the hands refuse to remain so set, tliev twist 
over to the left and thereby twist the club head also. See 
Illustration 56, page 67. 

Some players are very strongly inclined to set their 
hands with V’s pointing towards the right shoulder, in 


68 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


spite of the fact that it is not the correct setting for them. 
The only proper cure for this, since the hands are inclined 
to twist over, is to set them in a position already twisted 
over at the outset when gripping the club, as shown in 
illustration 56, but of course with the club face square to 
the line of play. Uncomfortable as this might be, it is 
a certain cure for “smothering” the ball—certain because 
you eliminate the cause. Never combat one error with 
another, but eliminate the error. Softer the discom¬ 
fort till it no longer is uncomfortable. By perseverance 
and determination you will soon find comfort in the new 
habit. Console yourself with the thought that the club 
face must be absolutely square to the desired direction 
of play at and tliruout the duration of impact if the ball’s 
flight is to be true, and therefore, there is no alternative. 

Balanced effort on the part of the pronators and 
supinators of both arms is the thing to be sought, and 
each individual must experiment and find out exactly 
what particular setting of the hands produces this 
balanced effect. All the supinating and pronating 
muscles are involved in the control of the club face. 

It is very important that the palm of the right hand 
be firmly pressed against the thumb of the left hand, then 
the one hand will be braced and steadied by the other. 
Lock the pronators against each other in the hand setting 
found to he correct. 

Another cause of failure to get a square impact is 
shown in Illustration 57, page 67. The left hand should 
act as a fulcrum against which the right hand strikes. 
Should this fulcrum collapse or give way, the club head 


69 






GOLF FUNDAMENTALS BY SEYMOUR DUNN 


will drag behind, and the club face will consequently not 
be square to the line of play, nor will it be perpendicular 
to the initial line of trajectory. 

A common failing among players is the inability to 
get the club head thru; it drags behind the hands. 
Collapse of the left wrist is the cause.. The left wrist 
gives way or collapses because of a lack of back pressure 
from the left hand against the club handle, due to its 

feeble effort in this direction, or due to its inability to 

•/ 

hold its own under the strain of excessive shoulder rotary 

4 / 

effort imposed upon it. 

The cures are obvious: first determine the true cause 
of the trouble. Is the left hand loafing or are the 
shoulders overstraining? Either increase the effort of 
the left hand or moderate the effort of the shoulders; per¬ 
haps both are a little at fault. 

Just how the left hand functions as a fulcrum is 
explained more fully in Transmission of power, see 
contents. 

The resulting flight from this fault is—ball departs 
immediately out to the right of intended direction, flying 
very low with curve to the right. 


70 






GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


SUMMARY OF THE MECHANICS OF THE 

GOLF SWING 


To strike always with the center of the club face, 
observe Fundamentals 1, 2, and 3. 


To strike always with club face travelling in right 
direction, observe Fundamental 4. 

To strike always with club face at right angles to 
line of play, observe Fundamental 5. 

These five Mechanical Laws give a working theory 


that is complete in so far as the order of your movements 
is concerned, as they cover every possible error of the 
swing that would cause inaccuracy of impact and thereby 
faulty direction. Therefore no matter what the inaccur¬ 
acy might be, a perfectly clear, sound and logical reason 
can be found and a remedy applied. Of course there are 
an endless number of minor causes that upset each of 
these Fundamentals, but the first thing to determine 
always is which Fundamental was violated. It is then a 
comparatively easy matter to trace out the minor cause. 
The object of all this theory is to give you a simple and 
definite way of reasoning out the cause of any and all 
your golf swing troubles. 

These Fundamentals are the foundation of every 
stroke in the game no matter what the style of the player 
may be and they cannot be violated in the slightest degiee 

with impunity. 


71 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


SIMPLE SUMMARY OF SWING CONTROL 

To put the essence of all the foregoing on Mechanics 
into simple language, the live Fundamentals are: 

1 1 IFAD Keep it steady, to keep the whole swing 

steady. 

2 LEFT ARM Keep it stiff to preserve the swing 

radius. 

3 RIGHT ARM With it raise the club to a proper 

height to guide it thru a proper slope. 

4 SHOULDERS Turn them the proper amount each 

way, and at the proper time, and at the proper 
speed to guide the club along the line of play. 

5 HANDS Work with them to the utmost of their 

strength at the moment of impact, to control the 
club face so that it will be square to desired 
direction of play. 

If you are not hitting your ball true and sending it 
straight, one or more of the above five Fundamentals has 
gone wrong. Find out which and correct it. To find out 
which study “Faults Resulting from Mechanical Errors 
of Swing”. 


72 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


FAULTS RESULTING FROM 
MECHANICAL ERRORS OF SWING 


T HE common faults are: topping, skying, slicing, and 
hooking. These take various forms and are the 
result of violating the mechanical laws of the golf swing. 


TOPPING 

Topping is caused chiefly by the raising of the 
player’s head, but it is quite common to top by contract¬ 
ing the radius of the swing, or by flattening the oblique 
plane of the swing. Contraction of the radius is sure to 
result in a top off the toe of the club, while too flat a swing 
will result in a top off the heel. Simply raising the 
player’s head results in a top midway between toe and 
heel. When topping is the fault, determine first whether 
it is a top off the toe, heel, or center. By this you will 
know what is the cause of the topping. When the cause 
is known it is a simple matter to apply a remedy. 

Of course it is quite possible to cause a top off the 
heel by rising on the toes and losing the balance forward. 
However, this is going into combinations of errors, which 
will be dealt with later. 


SKYING 

The antithesis of what is said concerning topping the 
ball applies to skying the ball. Extension of the radius 
of the swing extends the club head so that it goes under 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


the ball and this skying will be accompanied with slice, 
since extension of radius extends the club head outward 
as well as downward. Therefore the ball will be struck 
inside the center of the club face. Too upright a swing 
will cause the club head to go under the ball, thereby 
skying it, and this skying will be accompanied with hook, 
since to change the obliquity of the swing in this manner 
brings the club head in nearer to the player, and therefore 
the ball will be struck with the toe end of the club face. 

Simply dropping the player’s head, drops the center 
of the club head under the ball, and the ball will be skyed 
without slice or hook. 

The same errors that cause skying cause “ Sclaffing ’. 

SLICING 

Slices may be divided into four different classes; each 
the result of a different canse. 

Class 1 Slice. Definition—The ball travels two- 
tliirds of its journey quite straight on the intended line 
of play and only at end of its flight does it curve off to the 
right. This is caused by striking the ball somewhat 
inside the center of the club face. To determine the canse 
of this fault first determine whether the height of the 
ball’s trajectory is medium, high or low. 

If class 1 slice is accompanied with medium height 
of flight, then Fundamental 1 is being violated, swing 
center is being moved slightly forward by the player not 
retaining a perfect balance and the ball is being struck 
somewhat inside the center of the club face. 


74 






GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


If class 1 slice is accompanied with excessively high 
flight; Fundamental 2 is probably being violated—radius 
of the swing is being slightly extended, ball is being- 
struck inside center of club face, also club head is getting 
too much under the ball. This slice was explained under 
skving—the skved slice. 

If class 1 slice is accompanied with low flight, the 
probable cause of the trouble is violation of Fundamental 
3, obliquity of swing has gone wrong. A slightly flat 
swing of incorrect flatness will cause impact with the 
lower heel corner of the club face. This always causes a 
low flying slice curving off at the end of the flight. 

Slight violation of Fundamental 1, 2, or 3 in the 
manner described will cause slicing, and if carried far 
enough will cause socketing, or even a complete missing 
of the ball. 

Class 2 Slice. Definition—ball starts out to the left 
of the direct line of play and immediately begins to 
swerve to the right. This is because the club face strikes 
the ball a glancing blow, dragging across the line of play 
from outside line of play to inside. The cause is that the 
swing is out of parallel. Fundamental 4 is being violated. 
See Illustrations 46, 47, 48, and 49, page 63. Also the 
wrists are snapping too late. 

Class 3 Slice. Definition—ball starts immediately to 
the right, flying excessively high. Supination of the club 
face is the trouble. Fundamental 5 is being violated. 
See Illustration 55, page 67. 

Class 4 Slice. Definition—ball starts immediately to 
the right flying low. Left wrist as a Fulcrum is giving 


75 





GOLF 


FUNDAMENTALS 


BY SEYMOUR 


DUNN 


way, another form of violation of Fundamental 5. See 
Illustration 57, page 67. 

It is quite possible to have a combination of several 
slicing causes at work. 

HOOKING 

The opposite of wliat is said of slicing applies to 
hooking. There are four distinct classes of hooks, the 
class 1, having sub-classifications the same as the slice. 

Class 1 hook. Definition—the ball travels two- 
thirds of its journey quite straight on the intended line 
of play and only at the end of its flight does it curve off to 
the left. This is caused by striking the ball somewhat 
outside the center of the club face. To determine the 
cause of this fault, first determine whether the ball’s 
trajectory is high, medium or low. If low then the 
probable error is violation of Fundamental 2—radius is 
being slightly contracted. 

If class 1 hook is accompanied with high flight, the 
probable cause of the trouble is violation of Fundamental 
3, obliquity of swing has gone wrong. A slightly upright 
swing of incorrect uprightness will cause impact with 
the upper toe corner of the club face. This always causes 
a high flying hook curving off at the end of the flight. 

Class 1 hook with normal trajectory is due to viola¬ 
tion of Fundamental 1, swing center is being moved 
slightly backward by the player not retaining a perfect 
balance. The minor matter, i. e., the cause of loss of 
balance is a thing which can be determined only by close 
observation. It might be caused by the player’s standing 


76 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


too far away from the ball with the body weight upon 
the balls of the feet and settling back upon the heels 
during the swing. The cure in a case of this kind would 
be to stand nearer the ball, with the body weight on the 
heels. This is the proper place to have it for every stroke. 

Class 2 hook Definition—ball starts out to the right 
of the direct line of play and immediately begins to 
swerve to the left. This is because the club face strikes 
the ball a glancing blow, cutting across the line of play 
from inside the line of play to outside. The trouble is 
that the swing is out of parallel. Fundamental 4 is being 
violated. See Illustrations 50, 51, 52, and 53, page 64. 
Also the wrists are snapping too soon. 

Class 3 hook Definition—ball starts immediately to 
the left and curving yet further to the left suddenly 
ducks downward and runs a good distance along the 
ground. Pronation of the club face is the trouble. 
Fundamental 5 is being violated, right hand is overruling 
the left. 

Class 4 hook Definition—ball starts immediately to 
the left flying high. Left hand as a fulcrum is not giving 
way but is offering too great a resistance to the right 
hand and is therefore getting the club head thru too soon. 

This is another form of violation of Fundamental 5. 
The effort of the hands is unbalanced. 

DIGGING AND SCLAFFING 

• Digging the ground is caused by the swing center 
being improperly placed, i. e., too low or by moving down- 


77 





GOLF 


FUNDAMENTALS 


BY SEYMOUR 


DUNN 


ward during tlie stroke. It is also caused by too upright 
a swing, and may be caused by insufficient reach in the 
first place and reach extending during the stroke due to 
centrifugal force. When the above are accompanied 
with late wrist action “Sclaff” is the result. 

SOCKETING 

Socketing is caused by losing body balance, falling 
in towards the ball, or too Hat a swing. Standing too far 
away from the ball and over-reaching for it is also a 
common cause. 

COMBINATION OF ERRORS 

Exaggerated cases of topping, skying, slicing or 
hooking are due to a combination of errors. For example, 
it is possible to strike the ball with the heel end of the 
club face—this would cause a slice. At the same time 
the swing might be out of parallel, dragging across the 
ball, which also causes slice. In addition to these two, 
the left wrist as a fulcrum might give way and because 
of this, the club head would be behind the handle—this 
causes slice. Still worse and more of it, there might be 
insufficient effort of pronation to prevent supination of 
the club face. This too would cause slice. 

A combination of conflicting errors might produce a 
perfectly straight flight with proper trajectory, but this 
is always accompanied with more or less loss of distance. 

It sometimes happens that a player strikes the ball 
a tremendous blow sending it quite straight in the 


78 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


intended direction, and in a proper trajectory, yet it does 
not travel anything like the distance it ought to. This is 
due to a combination of errors of opposite nature working 
against each other and eating up the force of the stroke, 
the ball getting only what is left after they are thru with 
each other. 

For example, it is quite possible to strike the ball 
with the toe end of the club face—which should cause a 
hook at the end of the flight—while at the same time the 
left wrist as a fulcrum gives way somewhat, so that the 
hook cannot develop. If the errors are pronounced, the 
ball will fly with very little life and the player will think 
he struck a rock. 

Should you go to your instructor with a combination 
of errors, don’t expect him to cure you while you wink 
vour eve. He cannot get your conscious mind intently 
on two thoughts at once. He will have to eliminate one 
fault at a time, and therefore better results may be slow 
in coming. 


79 






































? 











































GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


GOLF FUNDAMENTALS 

SEYMOUR DUNN 


Book 2 


DYNAMIC LAWS OF THE 
GOLF STROKE 

Meaning only those things which have 
to do with the power of 
the stroke 


Copyright 1922 by Seymour Dunn 
All Rights Reserved 


81 






GOLF FUNDAMENTALS BY SEYMOUR DUNN 


DYNAMIC LAWS OF THE 
GOLF STROKE 

More Pegs on Which to Hang Your Golf Thoughts 

To dispatch the ball the greatest possible distance, 
we should use every source of power we have. There 
are four sources of power: 

1 HIP ACTION 

2 SHOULDER ACTION 

3 ARM ACTION 

4 WRIST ACTION 

In each action there is a climax, and it is by co-ordi¬ 
nating these four sources of power into one united effort 
and concentrating that effort on and transmitting it to 
the ball, that produces the greatest driving power of 
which we are capable. 


82 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


FUNDAMENTAL 


6 


Parallel Hip Action Momentum producer. Parallel 
hip action adds momentum to the blow, and backs 
up the speed generated by the shoulders, arms and 
wrists. Momentum is necessary to overcome resistance 
and to get the benefit of the resiliency of the ball, since 
ball’s initial velocity should be greater than the velocity 
of the club head. The hip action is called “parallel”, 
because, the action is precisely what the word implies. 

The player’s body has two dis¬ 
tinctly different motions to make, 
«/ 

i. e. 1 the rotary shoulder action and 
2 the parallel hip action. One is 
done for one purpose, while the 
other is done for an entirely differ¬ 
ent purpose. 

The hips do rotate somewhat 
but their rotary action is done 
merely in sympathy with the shoulder rotary action. 
The real work to be done by the hips is to move 
sidewise from one side to the other, thereby shifting the 
bulk of the player’s weight from one foot to the other. 
This must be done without moving the player s head. 


FUNDAMENTAL 6 

Put Your Hips into it, 
i. e. Shift. Your 
Weight from Hip to 
Hip by a Purely Side- 
wise Action of the 
Hips. 


This shifting of the player’s weight is the all important 
essential and source of the power of the follow thru. 

Every boxing man knows the value of following up 
his blow with the weight of his body by shifting his body 
weight forward as he strikes out. No very great motion 
of the body is necessary. The slightest shifting of the 
body weight has terrible effect if done at the crucial 


83 






GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


moment. The golfer should do the same thing, i. e. shift 
his weight, and this shifting of the body weight must be 
so timed as to deliver the climax of this power at the 
instant of impact. 

The golfer, however, must not move his head till 
after the impact, and therefore is free to move only the 
central portion of his body which centers in the hips. A 
study of the motion pictures on pages 107 and 109 show 
that the right hip has a parallel action of 18 inches from 
the top of the swing to the finish. This parallel hip action 
is plainly discernible in every long stroke illustrated, and 
I would emphasize the point that this is the all important 
essential and source of the power of the follow thru. 

To shift the weight just exactly the wrong way, i. e. 

from left foot to right during the stroke instead of right 

to left is a very common fault. Therefore every player 

should look into this matter to see if he is reallv on the 

«/ 

right track. 

The hip action is called the parallel hip action 
because it is an action of the hips that is parallel with the 
line of play, and to differentiate it clearly from all action 
of a rotary character. 

Illustrations 59, 60, and 61, page 86 are for the pur¬ 
pose of showing extent of hip action and weight shifting. 


84 





GOLF 

FUNDAMENTALS 

B Y 

S E Y M O U R 

DUNN 




58 PUTTING THE HIPS INTO IT 


85 
















86 


Showing the extent of the hip action and how the body weight is shifted from heel to heel 






























































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


FUNDAMENTAL 7 

Hotary Shoulder Action , Speed producer. In the 
full swing stroke rotary shoulder action should create 
25% of the swing. 

As the wrists swing the club the shoulders swing the 
arms. 

The shoulders by their rotary action maintain and 
add to the speed generated by the arms and wrists and 
are capable of generating a tremendous amount of driv¬ 
ing power. This shoulder power should be used to the 
extent of the player’s ability to transmit it to the ball. 
Caution however must be exercised as the shoulders are 
many times stronger than the wrists, and therefore liable 
to cause the wrists to collapse. 

Illustration 62, page 89, shows 
FUNDAMENTAL 7 clearly the extent to which the 

Put Your Shoulders shoulders enter into the stroke— 
Into It. —the right shoulder has fairly 

punched the ball out. The position 
as a finish is decidedly too long to be orthodox. I hap¬ 
pened to be defending a reputation for long driving in a 
competition against two of the longest drivers in the 
country and it was a case of neck or nothing. I excuse 
myself only on the grounds that I won the contest. This 
particular drive was 287 yards. The carry was over 250 
and I am satisfied the shoulders played a big part. This 
is not the longest drive I ever made by any means. At 
Wykagyl Country Club, New Rochelle, N. Y., at the old 
lOtli hole, I once carried the brook 302 yards from the 
tee. I have several times driven onto the first green at 


87 






GOLF FUNDAMENTALS BY SEYMOUR DUNN 


Wykagyl which was 375 yards then (1907). I have also 
many times driven on to the first green at Lake Placid 
Club, Long Course, which is 376 yards. Once I drove a 
ball beyond this green into the Wilmington road, -108 
yards from the point where I hit it. That was in the days 
when I used long clubs with light heads. 

I gave them up because I never knew which way the 
ball would go. Less distance and better direction is 
worth more. 


88 






GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 



62 784 yards was the total for 3 drives. This was nothing extraordinary hut it 

was good enough to win. All balls had to be kept within 
certain narrow limits on the fairway, or the 
total distance of the drive was lost 


89 












































































































































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


FUNDAMENTAL 8 

Put Your Arms Into It, 
i. e. Drive the Peg 
Home. 


FUNDAMENTAL 8 

Arm Action Speed producer. Arm action should 
create 25% of the full swing stroke. The left arm unites 
club with player’s body and is therefore the master arm. 
The right arm merely guides and drives club and left 
arm thru. 

The arm action is chiefly an up and down action like 
driving a peg into the ground. It should be vigorous but 
limited in the upward extent for the sake of swing 
control. 

In the upswing the club should 
be swept away from the ball along 
the ground by turning the shoul¬ 
ders. Meanwhile the wrists should 
be so loose that they saggingly 
twist, leaving the club head some¬ 
what behind. When the club head has been dragged 
about one foot, this wrist sag should end in a reaction 
of the wrists wherein they twistingly sweep the club head 
round to the player’s right and the wrists into proper 
position to bend upward, thus raising the club head 
upward in the manner of raising a hammer to strike a 
blow, i. e., head leading. When the club has reached a 
vertical position, See Illustration 117, page 107, the 
arms commence to raise the club handle, raising 
the whole club now as if shoving or sliding the club, 
head foremost, over the right shoulder. See Illustrations 

118, 119, 120 and 121, page 107. 

In the downswing this order is reversed: the 
shoulders start to unwind before the arms begin their 


91 






GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


downward stroke, meanwhile the arms and club sag side- 
wise behind. Study illustrations 97, 98, 99 and 100, page 
104. These illustrations give a good idea of what is meant 
by the lateral curve of the golf swing, i. e. the round about 
motion. 


This sag action of the arms wherein the shoulders 
start to unwind while the arms sag behind results in a 
reaction which generates greater force than would be the 
case if there were no sag. The shoulders starting first 
get ahead of the arms, the arms later have to make a race 
of it to catch up, but before they make this race to recover 


from their sidewise sag they strike downward as if the 
player were going to drive a peg into the ground which 
is to the player’s right. 

The arms in their downward action drag the club. 


handle foremost, down from the shoulder, the club head 
meanwhile dragging away behind. As the arms have 
about completed their downward stroke, the reaction of 
their sidewise sag comes into action just after the wrists 
begin their downward striking action. While the wrists 
are striking the club head downward, the arms are 
recovering from tlieir sag. Now the wrists absorb the 
arm sag by themselves sagging into a twist so that the 
club head is still dragging behind, see illustration 100, 


page 104. 

Now just as the shoulder rotary action is about to 
reach its climax opposite the ball and the arms are about 
to reach the climax of their downward stroke and have 
almost recovered from their sidewise sag, and the wrists 
are about to reach the climax of their downward stroke, 


92 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


the wrists let loose a twist which recovers them from their 


sag, and now all these actions and reactions come to a 
climax together in a terrific snap on the ball. 

The wrists being quicker in their action than the 
arms must not expend their effort till the arms have had 
a chance to get a good start ahead of them. If this is 
not done the wrist action will be expended at the wrong 
point in the swing, or its affect squandered and wasted 
tlirn out the downward stroke instead of concentrated 
close to the ball. A good expression is cut the did) down 
to the right of you but don't start with a jerk . Slash 
down with the left and punch thru with the right. 

Study carefully the Illustrations 121, 122, 123, 124, 
and 125 on page 107, and Illustrations 141, 142, 143, 144, 
and 145, page 109. Note the arms started downward 
first, wrists coming into action later. 

Arm action drags the club downward, handle fore¬ 
most. Wrist action breaks the club shaft downwardly 
away from the player’s shoulder. 

To delay the time of expending the wrist action, do 
not let the club shaft break away from the shoulder till 
the arm action has dragged the handle end of the club 
well downward. It will be seen that the arm action has 
pulled the club handle downward nearly 24 inches before 
the club shaft has broken away from the shoulder to any 
considerable extent. 


93 






GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


Some players are prone to exert too much effort with 
their shoulders. The arms and wrists then get too 
far behind and the swing is thrown ont of parallel. 
Co-ordination of swing becomes completely disorganized 
and slice results. To them I would say, let the impetus 
gained by the downward arm and wrist action unwind 
the shoulders, because even then they will in all probabil¬ 
ity exert sufficient effort with the shoulders to convert 
arm-and-wrist-downward-hammering stroke into a 
swing. Experiment will show that you cannot prevent 
the shoulders from unwinding. The very impetus of the 
club’s- swing will unwind them in spite of your effort to 
check them. Of course the shoulders should not be 
actually checked. They must start first and get ahead, 
and the correct thing to do in the case of too much effort 
of the shoulders is to modify their effort. This however 
in most cases would not effect a quick cure. Diseases of 
the golf swing have to be dealt with severely sometimes, 
and an instructor frequently must ask a pupil to do some¬ 
thing he does not ultimately want at all. He will do this 
to tear his pupil loose from the disease contracted. For 
example, the best way to teach a pupil to drive a straight 
ball when troubled with a presistent slice, is to teach the 
pupil to hook. When the counter-irritants are beginning 
to take effect, I modify the dose and tell my pupil just 
what is wanted. 


94 






Note position of peg in ground, to player’s right. This shows direction in 
which initial effort should be made from the top of the swing 



64 

Merely to illustrate the idea of—start the club down to the right of you 


95 



















GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


FUNDAMENTAL 9 

Wrist Action Greatest speed producer. Wrist 
action should create 50% of the full swing, and an even 
greater proportion of the speed of the stroke. Left wrist 
should be axis of fulcrum. Therefore, right hand must 
work about left, and because left wrist is fulcrum of 
wrist action, grip with left hand must be firmer than with 
right. 

Right hand has a great deal of work to do, but its 
work is entirely different from that of the left hand. 
Right hand guides club head, controls club face and 
delivers the blow. At first thought this might seem like 
all there is to be done, but there is vet somthing else and 
of far greater importance and which has to be done by 
the left hand — Unite the Chain of Levers. At the 
moment of impact left arm and club are like one solid 
lever from left shoulder down to club head. Left hand 
is the connecting link between player and club; it is a 
part of the lever. The strength of the lever must be 
greater than the power that operates it. 

Right hand does not have to grip hard in order to 
guide or push the club thru. The left must, because the 
right hand delivers its blow against the left, I do not 
mean to underestimate the work of the right hand. On 
the contrary, the right hand has a very great work to do, 
but that work is not to grip the club Tight. To do so 
would not only spoil its own work, but it would spoil the 
looseness and freedom of the wrists and possibly render 
the left wrist incapable of functioning as a fulcrum and 
all wrist action would be destroyed. 


97 






GOLF FUNDAMENTALS BY SEYMOUR DUNN 


The wrist action is a peculiar one; it is really a com¬ 
bination of two distinctly different actions, twisting and 
bending. See Illustrations 65, 66, 67; also Illustra¬ 
tions on page 103. In the downswing the wrists bend 
in striking downward, also, because of the shoulder turn 
the wrists get twisted, and have to untwist. They bend 
downward in delivering their downward hammering 
blow. Meanwhile they sag into a twist, because at this 
particular stage of the downswing, the arms are reacting 
from their sag and this sag now has to be absorbed by the 
wrists. This combination of bending and twisting of the 
wrists when done properly produces a flicking motion, a 
snap, a rolling twirl of the wrist in which the hands are 
made to suddenly reverse their position. See Illustra¬ 
tions 82-81, page 103. This double wrist action must 
be Vo-ordinated, 'concentrated, and 'expended as close 
to the ball as possible to get the greatest effect from it. 
It is a common fault to snap the wrists too late. The best 
correction of this weakness is to practice snapping them 
too soon. 

1 By co-ordinated. I mean downward bending action run into the twisting action properly 

: Bt concentrated. I mean expended all at once and not spread tliruont the downswing. 

3 By expended close to the ball, I mean reach its climax at the ball. 


98 











99 


This also shows the bending and twisting action ot the wrists as it is done in the swing proper 



















GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


The bending of the wrists must 
FUNDAMENTAL 9 always be done in the same manner 
Put Your Wrists Into as one would bend the wrist in 
it, i. e. Snap the Ball striking a blow with a hammer. 
Out with your Wrists. Take a hammer in your hands and 

strike downward blows with your 
wrists, and you will get the right idea of the wrist action 
so far as the bending part of the wrist action is concerned. 

Now rest the hammer on a table and roll it, twist it 
over on its right side, then on its left side, and you will 
get the right idea of the twisting action of the wrist. 
When we strike at a golf ball our wrists bend downward, 
twist over, and then after impact bend upward. 

In order to make the club travel in proper course of 
the swing, and bend our wrist in the manner described, 
at each end of the swing, we must twist (or turn) the 
wrist over. See Illustrations 65, 66, and 67, page 99. 
These illustrations show an exercise that is excellent for 
developing a powerful, concentrated wrist action. It 
will be observed that the left arm is kept pointing at the 
ball tliruout the motion. 


100 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


The object of this exercise is three-fold: 

1 To develop the maximum of wrist action. 

2 To concentrate it, i. e. expend it all at one point. 

3 To concentrate it at the right point in the swing, 
i. e. right at the ball. 

The illustrations show the exercise being done with 
the left hand only, because, 1 that is exactly where we 
want the action, in the left wrist. The right hand works 
about the left wrist. 2 The left wrist is the weak link 
in every golfer. This exercise strengthens it. 


101 






GOLF FUNDAMENTALS BY SEYMOUR DUNN 


THE SAG OF THE WRISTS 

In tlie full swine- stroke the rotary shoulder action 
performs all the lateral action necessary to the swing. 
Nevertheless the wrists must twist in a sag because of the 
great difference of speed between the club head and 
shoulders. 

We could not rotate our shoulders at a speed corre¬ 
sponding with the club head’s speed, and therefore in the 
downward stroke the shoulders are allowed to get a big- 
start ahead of the club. Wrists and arms absorb this 
loose motion and by reaction, speed the club up so that it 
catches up with the shoulders at the point of impact. See 
aerial view illustrations of the swing, page 104. 

There is a looseness, i. e. a sag action in the wrists 
which occurs in the form of a twist. There is also a 
reaction from this sagging twist which occurs in both 
upswing and downswing, and while only very slight in 
upswing is most pronounced in downswing due of course 
to the great difference of speed in upswing as compared 
to speed of downswing. 

Illustration 68 shows a concave outline down the 
back of the right hand, while 69, 70 and 71 show a 
convex outline. This is the wrist sag which can be seen 
ending in a reaction in Illustrations 72, 73 and 74. Then 
follows the vertical wrist action shown in 75 and 76 and 
finally the vertical arm action shown in 77 and 78. 

79 shows the start of the downswing. The hips have 
started forw r ard. Next in 80 the shoulders commence to 
unwind. In 81 the arms have struck downward leaving 
the club head dragging behind in a wrist sagging twist. 

82 shows the wrist recovering from their sagging twist. 

83 shows shoulders, arms, wrists and club head in simul¬ 
taneous climax and now the brakes are being applied. 


102 











THE WRIST ACTION in Motion Picture Series 
This was an actual drive in which the bali was driven 250 yards 
Notice also how comparatively placid the body is as compared with the eneigy ot the wlists 


103 

















































4 

4 

88 

4 

89 

* 

* 

4 

90 

4 

91 


* 

4 • 

32 

i 

33 

. * 

4 

94 

|JK 

95 

- 

• 

36 

li . ' r ' < > 

97 

4. 

98 

i» i 

99 


J&- 

.jgfc 

100 

• ... 

4 ' 

101 

4 

(02 

4 

«03 


« 

* 

104 

m 

o 

• 4 

.. 

; '4 

(06 

it 

4 

107 


! v ■ 4 

10$ 

4 ’ v ■ 

A 

1 

* 

109 

# 

4. 

no 

* 

* 

m 


0\ ERHEAD VIEW OF GOLF SWING in Motion Picture Series 

104 



















GOLF FUNDAMENTALS BY SEYMOUR DUNN 


FUNDAMENTAL 10 

Order of Dynamics of Stroke 

Upswing Start tlie parallel liip action and 
shoulder rotary action simultaneously and therewith 
start the club back. This should cause a slight sagging- 
twist in the wrists, in which the club head is left some¬ 
what behind. See illustrations 68, 69, 70, and 71, page 
103. When the club has been dragged along the ground 
about one foot this sag ends in a reaction in which the 
wrists are excited to greater action than would be the 
case if there was no sag in the wrists. 

When club head has been swept backward along and 
close to the ground about four feet by the continued 
turning of the shoulders and the reaction of the wrist 
sag, start to raise the club by wrist bending action. 

When the club shaft has reached the vertical position 
see illustration 117, page 107, start to raise the handle 
end of the club by the upward arm action. Continue the 
body pivoting and upward arm action till the upswing 
is complete. 

Downswing 1 Hips start forward and thereby 
body weight commences to shift from right foot to left. 

2 Shoulders begin to unwind, meanwhile arms and 
club sag behind. 

3 When shoulders have unwound about quarter way 
arms begin to deliver their downward blow to player’s 
right dragging club handle down. 

4 When arms have dragged club down to a vertical 
position, see illustration 123, wrists cut loose with their 


105 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


downward bending action cutting clnb downward to 
right of player. 

5 Meanwhile arms begin to recover their sag from 
the shoulders, wrists absorb arm sag bv themselves 
sagging into a twist, and thus the club head is still 
allowed to drag behind. 

6 When club has reached the low horizontal position 
see illustration 124, wrists begin to recover from their 
twisted sag. Then round comes the club head with the 
speed of lightning snap-bang on the ball—everything on 
time. A close study of illustrations 124, 125 and 126, will 
reveal the fact that while the left hand travels one and 
one-half feet, the wrists cause the club head to travel 
12 feet. The speed of club head is many times greater 
than speed of the hands, thanks largely to reaction of 
the wrist sag. 

FUNDAMENTAL 10 
CO-ORDINATE: 

1 Hip action 

2 Shoulder action 

3 Arm action 

4 Wrist action 

5 Arm reaction 

0 Wrist reaction 

In the upswing and in starting down don’t be in a 
hurry to hit the ball. Also, don't try to hit the ball till 
you get to it. 


From now on wrist twist action 
makes club head take the lead. This 
is followed by the arms, while the 
shoulders now rapidly put on the 
brakes till finally reaction sets in 
coming from the left leg into the 
left hip, thence thru the shoulders 
and arms to the club—and the 
stroke is finished. 


r 


fliese two expressions have a world of meaning. 


106 






♦ .'c BSk jjiiKia£wL«p^^> i wteiT*. 

t«l»4iyiato;aii8 ^K: gj Wj*.i«ii 

l66.-P-r- ■ ~ * " ' 



»***(*•*« 




114 


iiL 


115 



l*k .9 


■fc*«sB»a«a»w< 


>**• 


**■■•.£* *•«.>. 


HI>Ilii!tM9Elll9(aHUUr‘'l*l)HBWl!t l IlfM 

• Hi. 


iB***.-4*w 

(3aa«r r \r 

| i: Milt. 5*3 

I••«■«« 

I %!■-. EES*, 

I.. 



UHlgllll 

■aaiiaia-* 


T!S»rUiFr:S«4 

L I 

I 

‘f'V- i| 

l*«**k»*rs«¥n» 

‘ m SIBMXI:' k 



■gUk » . 1*1, ,t 

*r;*or-»*c*a; 

!BSS»t»»§S»* 

Mariaa-fe^a_ 

-■*- - Almumwr 

, |(aaaMa« 

■ ,* SM - jf T i 

I 

HBtaaa asa 


116 


" T 



118 gfe 



law ♦ l*i» I 


iajan,^iaMlwfk .. k»fc*jT- 

lUMganiaiav 





s ;aa>*«frv 

""iiaaaaaaai 

IKMMSt* 3 -- 

•t- »•. 

> »»*»**( S3 


laaaaaaaiHii 

iaaa tfa**B*a« 


f | a* ' ; -j 

* '* 4 **'' ' i 




i «aacnM r . 
■aaaaaaasawja 
—fiSaaa - 


BKWfc.- - 


it! 


iBB**aa** 

, ai««sasa» 

tSBKS|2£* 



BKttaaa iaaan*...» ••¥ .« 

aaaaaa * .«*r *a*■ *•* »** 
iaa5««ta a» ^aaaaaaaf«■■ 


aaaaaa 

! jeciasasa* 
* *a*»Kt54»«| 

! «■» 





120 


121 


122 


123 


PlV4»«9!»!» 



2* A WteA * 

“*>*•§•■*»■»** 

'auaaiaaaeMf 





i .»»■«**** , 

■ugiani 

. - 

SCK?5 

*«>>«• ' 



pniai 


_ 


V9M2&iM*re 

— ■ ik rf .. 
„ •” i3«n 




aaaaaa* 

aaaaaaatu 

aaaaaa** 


a^aCT^<j«*»pafiaaac 





l*> s 

aiaa 
*r*aaaa‘ 


124 


125 


12 fc 


127 



FRONT VIEW, THE FULL SWING STROKE 
Action Pictures in Motion Picture Series 


107 












































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


Iii the downswing the reason why one motion should 
be started ahead of another is because of time required 

by each before it can reach its climax. 

«/ 

The hips being slower than the shoulders must be 
started first so that they can get ahead. Likewise the 
shoulders are slower than the arms and therefore must 


be allowed a very considerable start ahead of the arms. 
Finally the arms must be allowed to get almost to the 
climax of their action before the wrists with their terrific- 
speed are finally let loose. Thus by their different rates 
of speed each comes to its climax at one and the same 
moment, i. e. the moment of impact. 

If wrists were allowed to start at top of swing and 
were expended in a concentrated form, the climax of 
their effort would be expended before the club reached 


the ball and tlierfore lost. 


108 








38 






REAR VIEW, THE FULL SWING STROKE 
Action Pictures in Motion Picture Series 


109 




































nf IMMk A,» 

W ' . J „ ISM- 

U -V. fcfi 

IWiPiMiWi'* ***** * 


-J *■» - . 



•4tk _»»fc <4 c 4 <^L 

*.i*r mn*n¥, « am : 

"" ^ngpA 


• ■d** 

i*5 


« * 

luBiMiIi" 





fcii i$ *$ •- if ■ e ' tt r ts 

*•*»■ ■»• «»ifc • j» £*• KjMtftiaMft vm 

< »■ 

♦ ittg]pi«*ai**«^y 

*» 


»56 




LEFT SIDE VIEW, THE FULL SWING STROKE 
Action Pictures in Motion Picture Series 


110 






















RIGHT SIDE VIEW, THE FULL SWING STROKE 
Action Pictures in Motion Picture Series 


111 



























173 CONCENTRATION OF POWER 

This picture was taken with a high speed camera, yet the speed of the 
club was so great as to leave a 6-foot blurred image on the 
plate in so short a duration of exposure 


112 






GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


FUNDAMENTAL 11 
Concentration of Power 

Power is gained from six sources. Six entirely 
different sets of muscles enter into tlie stroke for the sole 
purpose of generating force. 

1 Muscles of the right thigh and leg drive hips thru. 

2 Peetoralis minor and serratus magmis muscles drive 

shoulders thru. 

3 Latissimus dorsi muscles drag arms down. 

4 Flexor and adductor muscles of forearms bend wrists 

downward. 

5 Peetoralis major and minor muscles pull right arm 

thru. 

6 Pronators of right forearm twist wrists thru. 

Of course a great many other muscles are involved 
too, but these are the principle ones. 

Each and every set of muscles 
must make their effort in such 
manner that the climax of all are 
concentrated on the ball. This is 
“Timing” the stroke. 


FUNDAMENTAL 11 
Time Your Stroke 


113 








GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


FUNDAMENTAL 12 
Transmission of Power 

The speed and power of liips, shoulders, arms and 
wrists must be transmitted to the club by the hands. 
Therefore their effort must be equal to all forces 
combined. 

A golfer is like a chain—no stronger than the weak¬ 
est link. The hands are the weak link of every golfer no 
matter how strong his hands may be. Therefore the 
combined effort of all the several sources of power must 
be kept within the carrying capacity of the player’s 
hands, or they will collapse and the stroke will be ruined. 

It is highly desirable that we have all the hand 
strength it is possible for us to acquire. 

Every golfer should have a grip developer (some¬ 
times called a wrist machine), and use it to develop his 
grip. 

The reason why many players “slice” is because they 
either do not have strong hands or they fail to use their 
hand strength at the critical moment when the power 
of the stroke is to be transmitted to the ball. When the 
hands work as they should, the player can actually feel 
that he is bending the club shaft on the ball. If you 
cannot feel this you will not get the distance of which 
you are capable. 

The majority of players who fail in transmission of 
power, do so because their left hand fails to act as a 
fulcrum for the right hand to strike against. I he left 
hand has to dear dock against the right. 


115 






GOLF 


FUNDAMENTALS 


BY 


SEYMOUR 


DUNN 


To understand this matter, take a club in hand and 

press the face of it against any solid obstruction. With 

enough force to bend the shaft. Maintain this pressure 

and ask yourself, “What am I doing with the upper palm 

of mv left hand?” You will discover that you are very 
*/ 

decidedly pressing the club handle backward against the 
forward pressure of the right hand. Take the left hand 
away and try to maintain the same bend in the club shaft 
and you will at once be convinced. This back pressure 
of the left hand must be done at the moment of impact 
if you are to overcome the resistance of the ball. If you 
fail to do it, the club handle may go thru, but the club 
head will come dangling along behind like a dog’s tail. 

FUND \MENT AL 1° Some players might almost as 

USE YOUR HANDS, we ^ sticiv their hands in their 
i. 6. Prevent Leverage pockets for all the use they make 
Collapse. of them. 


116 








GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


FUNDAMENTAL 13 
Consistency of Stroke 

To be consistently accurate in your results von must 

«/ «/ «/ 

be consistently accurate in your stroke. To be con- 
sistently accurate in your stroke, your stroke should be 
a powerful, yet easy and graceful rhythm of precise 
motion. 

Co-ordinate all the Mechanical and Dynamic essen¬ 
tials of the stroke into a beautifully blended rhythm of 
united movement. This should produce a sense of great 
power yet without overstrain anywhere. 

There is a world of meaning in: 

FUNDAMENTAL 13 1 Never hit the hall as hard as 

Apply Power with Ease, you f eel you could, i. e. AV it 1 1 all A OU1 
Grace, and Rhythm. might. 

2 Always put a full third of 
your strength in your pocket and leave it there. This 
means the body strength more especially of course and 
not the hand strength. 

3 Learn to strike with a feeling that you are sacri¬ 
ficing 25 yards of distance for the sake of consistency 
and good direction. To let loose all one’s strength is to 
“press”. Never press. At the same time never spare. 
One is as bad as the other. The feeling I have is that I 
hit hard, very hard, with my hands, but easy with my 
body. 

The shoulders being many times stronger than the 
hands must not let loose all their strength or they would 
destroy everything. \\ ork hard with the hands, moder¬ 
ately with the arms, and easily with the body. Do this 
and you will feel that you are hitting the ball firmly yet 
with a reserve. 

In what I mean you do not actually sacrifice 25 yards 
of distance—you are’to get every inch you can. My point 


117 





GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


is that to slash away fiercely at the ball would not add one 
inch more distance than you could get if you simply hit 
the ball firmly with a good smart snap. If you slash 
away with all your might you probably will not get as 
much distance as you would out of a well controlled and 
snappy hit at the ball. 

Use the right club and the right stroke and play both 
for what they are properly worth. Never try to get 200 
yards out of a masliie or spare a brassy shot when you 
could get there properly with a mid-iron. 

An excellent way to acquire co-ordination of move¬ 
ments and consistency of stroke is to whistle, hum, or 
sing audibly or mentally and very slowly a rhythmic 
dreamy air to yourself and swing back and forth con¬ 
tinuously from the top of the swing to the finish. Keep 
swinging back and forth from one end of the swing to 
the other and in time with your music. As you swing 
emphasize the beat of the musical tune with an audible 
swish of the club. The very thought of a dreamy air sug¬ 
gests relaxation of muscle and co-ordination of move¬ 
ment. At the same time try to accelerate the speed of 
club’s swing so as to produce a loud swishing sound with 
the club by making it cut thru the air. Of course con¬ 
centrate the climax of this swish at the point where the 
ball is supposed to be. Do it all without overstrain vet 
with sufficient snap to suggest driving power. 

Constant practice of this exercise will soon produce 
a consistently accurate, powerful, easy, graceful and 
^ ttunic . ti oke, in which there will be both perfect 
co-ordination and snap. 

On any golf course you might find a caddy boy 
whistling a tune and swishing his club in time with it. 
Many a professional acquired his easy rhythmic swing 
whistling and swinging during his caddvhood days. 


118 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


SIMPLE SUMMARY OF THE POWER 
OF THE STROKE 

To put the essence of all the foregoing on Dynamics 
into simple language, the eight fundamentals are: 

1 To overcome the resistance of the ball and put 
speed into it, put the weight of your body behind your 
stroke by shifting your weight. 

2 to put speed into your stroke spin your shoulders 
with all the speed your arms, wrists, and hands are 
capable of carrying along with their own efforts. 

3 That the speed of the shoulders may be intensi¬ 
fied, swing the arms with all the speed the wrists and 
hands are capable of carrying along with their own 
efforts. 

■f That the combined speed of the arms and 
shoulders may be yet more intensified, swing the club 
down and snap it thru with all the speed the wrists are 
capable of producing by their bending and twisting 
actions. 

5 That all these various sources of speed may build 
up the greatest speed of which they are capable, unite 
them by bringing them into the swing in their proper 
order. 

6 That the greatest possible speed may be gotten 
into the ball, concentrate the full force of all these 
sources of speed upon the ball at the crucial moment in 

the form of a concentrated hit. 

7 That all this power may be transmitted to the 
ball, the left hand must act as a grace for the right hand 
to bear against. The right hand must deliver the full 
force of all this combined effort against the left hand m 

order to lever the ball away. 

8 That all this power may be accurately applied 
with a large measure of constant regularity, there must 
be a certain amount of reserve in the stroke to act as 
a balance wheel to maintain perfect co-ordination. 


119 






GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


SUMMARY OF THE MECHANICS AND DYNAMICS 

OF THE GOLF STROKE 

To send tlie ball always the greatest distance of 
which yon are capable and with good direction, yon must 
observe every Fundamental of the golf swing Mechanical 
and Dynamical. 

These thirteen Fundamental laws so far presented 
give a working theory that is complete as far as order 
and power of motion are concerned. They cover not 
only every possible error of the swing that would cause 
inaccuracy of impact and thereby faulty direction, but 
also they cover every possible cause of failure to get 
distance. 

If you are not getting the distance you are entitled 
to, a close study of these Fundamentals will reveal the 
physical cause. 

It is a good thing to memorize all these Funda¬ 
mentals by a simple expression for each, and for that 
purpose I give the following: 


FUNDAMENTALS 


Mechanical 

1 Head steady 

2 Left arm stiff 

3 Eight arm control of slope 

4 Shoulder control of parallel 

5 Hand control of club face 


Dynamic 

6 Hip action to give momentum 

7 Shoulder action to give speed 

8 Arm action to give speed 

9 Wrist action to give speed 

10 Proper order of movements to get greatest effect 

11 Concentration of power to get greatest effect 

12 Transmission of power to get greatest effect 

13 Consistency of swing to get the utmost consistency of results. 


/ 


120 





GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


GOLF FUNDAMENTALS 

SEYMOUR DUNN 


Book 3 


GOLF PSYCHOLOGY 


Copyright 1922 by Seymour Dunn 
All Rights Reserved 


121 















GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


FUNDAMENTAL 14 

Learn 1 to Make Your 
Swing- Automatic 


GOLF PSYCHOLOGY 

FUNDAMENTAL 14 

Psychology of Learning the Swing 

After many trials, slow, awkward and painstaking 
a child learns how to tie a bow. Once learned the whole 
process can he performed without conscious direction. 
So it is with the golf swing. By innumerable repetitions, 
habits will be formed and the swing will become an 
automatic act, i. e. one that required no focused attention. 
It “does itself." 

Since the golf swing is a thing 
of many parts all to be controlled at 
one time, it follows that the student 
must work on each part separately 
giving to it his concentrated atten¬ 
tion. Finally correct habits will be firmly fixed and the 
whole performance will become automatic. He can then 
center his attention on the shot, that is, placing the ball. 

During the preliminary waggle just before each 
shot, the student should call to mind the ruling thought 
on each fundamental. When things are going well such 
mental effort is not necessary. Never forget that golf 
is much more a matter of mind than muscle. 

Shot, stroke, and swing all have a distinctly differ¬ 
ent meaning. The shot is the effect, i. e. the resulting 
flight of the ball. 

The stroke is the effort of striking. 

The swing is the whole combination of movements 
in general. Example! you cannot call flu* upswing the 
stroke. A player might make a swing and if no ball is 
present he may leave out of his downswing the effort of 
king. 


123 








GOLF FUNDAMENTALS BY SEYMOUR DUNN 


FUNDAMENTAL 15 

Psychology of Producing the Shot 

By aid of the sciences; geometry, anatomy, mechan¬ 
ics, dynamics and psychology, we are able to evolve a 
practical working theory of the golf swing based on 
sound principles and so complete in every detail that it 
will answer in a perfectly logical way every question or 
problem which might arise. 

Golf however is an art requiring such marvelous 
dexterity of touch, that to excel, extremely accurate 
judgment in touch is necessary. Good judgment and 
proper touch are things which can be developed only by 
a great deal of practice, and one must practice along 
proper lines in order to acquire quickly a good sense of 
judgment in touch. 

The physical senses of touch involved are: 

1 A keen muscular sense of accuracy in hitting a 
certain point, i. e. hitting the ball with the club face 
center. 

2 A keen muscular sense of direction, i. e. directing 
the ball’s flight. 

3 A keen muscular sense of distance, i. e. proper 
amount of effort to reach a certain point. 

To drive ball after ball straight and far down the 
middle of the fairway, or to pitch ball after ball a hun¬ 
dred yards or more right up to within a few feet of the 
hole, or to sink putt after putt as an expert is capable 
of doing, is a matter of keen judgment in touch. 


125 





GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


The novice might well say, “Then why all this 
mechanical and dynamic theory V’ My answer is—to 
pave the way for development of a proper sense of 
touch. Without a sound working theory you would get 
nowhere. Practice by mechanical theory to form the 
right habits so that your stroke will be automatic and 
correct, but in playing a shot, the player’s attention must 
be concentrated on what is to be done and not how it is 
to be done. The thing to be done is to put the ball into 
or as near as possible to the hole. The actions involved 
in doing the thing are to be correct automatic perform¬ 
ance, the result of distinct paths in the nervous system, 
ploughed out by repeated practice of the right kind. 

In playing a shot if the mind is allowed to wander to 
the stroke it cannot be focused on the shot. The stroke 
is the act which propels the ball, the shot is the resulting 
effect upon the ball. The conscious mind should lie 
focused on the effect desired, this will excite the subcon¬ 
scious mind to a keen control of the act necessarv to 

«/ 

produce the desired effect. 

Practice of mechanical theory will get you only just 
so far. To produce continually star performance, the 
player must learn the trick of inwardly exciting for each 
shot the inspiration necessary to execute the shot with 
such skill and precision that it is an art of a very high 
degree. 

A machine may lie set to do a certain thing with 
wonderful precision. It cannot however size up a 
situation and sense out to a very high degree the extreme 
delicacy of touch necessary, to produce that exact 


126 





GOLF 

FUNDAMENTALS 

B Y 

SEYMOUR 

DUNN 



r 



174 MENTAL CONCENTRATION 


The Above Unconscious Facial Expression Speaks Volumes 


127 















GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


direction, distance and particular spin required to pro¬ 
duce the right effect on the ball. 

Some players play their strokes in excellent mechan¬ 
ical order but they never score well and rarely win their 
matches. It is because they lack good judgment in 
sizing up the touch required to produce the desired effect. 
They do not know how to excite within themselves a 
keen sense of the thing to be done in order to produce the 
effect desired. They lack the inspiration necessary to 
accomplishments of a very high order. If we focus our 
thoughts on mechanical theory we dull our inspiration 
for the shot. 

After acquiring the proper physical habits, acquire 
the habit of always exciting to a very high degree the 
inspiration to do exactly the thing to be done, i. e. put 
the ball in the hole. Do this on every shot. 

In driving from the tee do not drive for the fairway 
—you might miss it. Instead try to shoot your ball right 
over the very top of the direction flag which is in the 
center of the fairway. 

In approaching do not just play 
FUNDAMENTAL 15 for the green but play for the hole 

Concentrate All Your which is in the green. Take aim at 
Attention on the it with an intensely keen interest— 
Thing to be Done— focus both mind and eye on the hole 
PLAY THE SHOT itself to get a keen impression of 

where it is, and inspire yourself 
with the thought that you are going to put the ball right 
there so that you will focus your attention on the thing 
to be done, i. e. put it there. 

Practice by mechanical theory but in play concen¬ 
trate your attention on the thing to he done. 


128 





GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


FUNDAMENTAL 16 
Psychology of Keeping the Eye on the Ball 

The eye and the muscles work in unison if you do not 
consciously interfere and throw one or the other out 
of focus. Try splitting a stick of wood. If you split 
correctly, you will find that you need pay no attention to 
the axe. Fix your eve definitely, without staring, at the 
spot you wish to hit. The muscles will follow the lead 
of the eye and you will hit the spot if you do not stare 
too hard or hit too hard. If you stare hard, you take up 
so much energy in- staring that you may throw the 
muscles out of gear by interfering with the subconscious 
automatic muscle processes. Looking at a golf ball 
ought to be just as easy as your swing. If you hit too 
hard, you mav throw your directing eye out of focus. If 
you stare too hard, you throw the muscles out of poise. 
Jerky attention and jerky muscular movement have no 
place on the golf course. Napoleon was most cool in the 
pinch of his most critical battles. 

If you have hitting the ground 
in your mind, you are likely to hit 
what you have in mind, for the 
thought changes the focus of atten¬ 
tion. If you want to top the ball, 
imagine or fear you will top it. If you want to miss it 
altogether, get your conscious mind, your eye, and your 
muscles as tense as possible, then fear that you will miss 
the ball. Both eve and muscles will then loose their focus. 


FUNDAMENTAL 1G 

Look at the Ball But Do 
Not Stare at it. 


129 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


Use tlie lightest tack hammer in the following- 
experiment. Hold a small nail between your thumb and 
forefinger. As you strike, watch your thumb and see 
what happens. Then see nothing but the head of the nail 
and note the difference. Next, while you watch the nail, 
have in your mind the distinct fear of hitting your thumb 
and note the result. 

Of course looking at the ball even attentively is not a 
guarantee that you will hit it, your acts must be correct. 
Looking attentively at the ball is merely a help, a help 
which the star golfers can almost do without. It is a 
point well known among the star players that tho their 
eye may be upon the ball at the moment of impact sight is 
not focused on it, the ball is merely on the fringe of their 
attention. Their minds attention is always Very keenly 
focused on where the ball is to be sent. A star performer 
once having looked at the place where the ball is and 
placed himself in position to strike it, can hit the ball 
with his eyes shut. Because his swing is automatic and 
correct he does not need to look attentively at the ball. 


130 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


FUNDAMENTAL 17 

Aim Properly not only at the Ball, But Also at the 
Place Where You Desire to Send It. 

Analysis of Proper Aim Taking 

1 The shot is produced by body muscles. 

2 The body muscles receive their instruction and 
initiative from the mind. 

3 The mind gets its inspiration thru the eye. 
Therefore in aiming look attentively not only at the ball 
but also at the objective point, i. e. the hole or direction 
flag so that the eye will register clearly on the mind the 
thing to be accomplished. Thus the mind may properly 
instruct the muscles on the thing to be done. 

By looking attentively , I mean 
FUNDAMENTAL 17 look, and continue to look till the 

Aim Properly, i. e. eye focuses properly on the object- 
Attentively. ive point. Then the eye wil 1 register 

clearly and impressively on the 
mind the exact distance and direction of the hole or 
direction pole. I have many times caught a pupil in this 
way—I will say, “Take a good look at that flag and then 
look at me.” Every one will give the flag a vacant sort of 
stare and then look at me, and I will say, “Plow many 
yards would you say that flag is from you ? Instantly 
the gaze returns to the flag and there it stays, fixed, wait¬ 
ing while the eye adjusts its focus before the answer. 
Then I will ask, “Why did you look back to the flag? 


131 






GOLF FUNDAMENTALS BY SEYMOUR DUNN 


Could you not have answered by question from the first 

look and if not, why?” Invariably the answer is, 

“Because I did not look at it attentively the first time.” 

«/ 

Too many golfers give but a mere casual glance at 
the intended direction of play. They aim to play too 
much in a general direction. They do not look attentively 
at a certain point of direction of play. How can you 
expect your eye to register impressively on your mind 
the exact thing to be done if you do not look attentively. 

Look attentively at the ball, then look attentively at 
the exact place where you desire to send it. Finally 
return your attention to the ball and hit it without delay 
before the eve gets out of focus. The eve tires verv 
quickly and then gets out of focus. 


CONCLUSION 

It takes time for the eye to adjust its focus. 

The mind must be attentive to a certain thing if the 
eye is to focus on it. 

The eye must be focused on the objective point if the 
exact location of that point is to be impressively regis¬ 
tered on the mind, and thus excite it to a keen control of 
muscular senses of direction and distance. 

We cannot expect accurate control without concen¬ 
tration on the thing to be done. 


132 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


18 

Proper Attitude of Mind 

There is a great deal in the proper attitude of mind 
toward the game. There must be complete confidence if 
one is to have proper peace of mind. There is however 
a vast difference between confidence and over-confidence. 

One must not be over-confident. One must simply 
feel that he can do the thing well, if he is to stand any 
chance of repeatedly doing it well. 

The feeling that you can do a certain thing gives that 
certain peace of mind which makes it possible to do it. 

Confidence is peace of mind. 
FUNDAMENTAL 18 Peace of mind gives proper poise, 
Have Peace of Mind and proper poise is everything. 

Confidence is horn of proper 
practice. To become upset as the result of a bad shot is 
to disturb the peace of mind. Allow your peace of mind 
to become disturbed and you shoot to pieces your confi¬ 
dence. Without confidence there can be no correct poise. 
Without correct poise there can be no good results. 

When a player loses poise it means he is controlled 
by emotion. His thought is no longer clear nor his atten¬ 
tion focused. To allow a trifling misfortune to produce 
this state of emotion with resulting confusion of thought 
and unsuccessful body control is to admit weakness of 
intellect. 

Never be willing for one moment to allow anything 
to divert your attention from the business in hand or to 
ruffle your peace of mind. You must at all times be cool, 
calm, and collected. 


133 










GOLF FUNDAMENTALS 


BY SEYMOUR DUNN 


FUNDAMENTAL 19 


Diagnosis of Faults and 


Right Way to Correct Them 


To correct faults: first, determine exact nature of 
ball’s flight, second, analyze nature of impact, and third, 
trace cause by a review of the mechanics and dynamics 
of the swing. 


By a study of the ball’s flight 
you can determine what the nature 
of the impact must have been. By 
a review of the Mechanics and 
Dynamics of the swing you can 
determine what must be the cause 
of any particular kind of an impact, 
and the cure should then be obvious. It is then simply 
a matter of effecting a cure in a psychologically correct 
way, i. e. there is always some key-thought that opens the 
door to correction of errors. For example, there arc 
players who say “I never will learn to shift my weight,” 
which might prove to be quite true, and why? Because 
they do not fasten their minds to some key-thought that 
is diametrically opposed to their error. The most suc¬ 
cessful key-thought for teaching anybody to shift his 
weight is skid your right toe 2 to 4 inches along the ground 
towards your left toe as you hit the hall. 

You must shift your weight off your right foot in 
order to skid your toe. You cannot drag your toe along 
the ground and at the same time stand on it. Try it and 
see. If vou are troubled with the shifting of your weight, 


FUNDAMENTAL 19 

Diagnose Correctly and 
get a Proper Key- 
Thought for Cure of 
Errors. 


135 






GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


go out and drive balls without caring what happens to 
the ball or the rest of your swing. Miss the ball entirely 
if you like but skid that toe. Do it often enough and it 
will become an unconscious habit. Then forget it, and 
devote vour attention to the ball. 

The same key-thought will not work in the case of 
every individual, and therefore your instructor must be 
a bit of a psychologist, and able to read people’s minds 
and suggest a key-thought that is most likely to have the 
desired effect. 

I have uo doubt the number of key-thoughts I have 
used in my life work as a teacher of Golf would till this 
book from cover to cover. So do not get discouraged in 
your search for the psychologically correct key-thought 
to help you correct your troubles. There is sure to be one 
and you must keep trying till you find it. 


136 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 



137 




















GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


SUMMARY OF GOLF PSYCHOLOGY 

In order to make use of all our faculties to tlieir 
maximum capacity there are seven mental aspects of the 
golf problem which should be pondered over deeply and 
mastered. Their order is as follows: 

1 Wake up your subconscious mind to the business 
of controlling vour stroke by a brief conscious review 
of the most essential things to be done to prevent failure, 
i. e. when you play golf, think golf, but do not let your 
conscious mind center itself on any one part of the stroke 
while in the act of making the stroke. Think of any 
particular part or parts of your stroke which you feel 
are in need of special attention just before you make the 
stroke, then let vour subconscious mind rule. 

2 Keep your eye on the ball to make sure of 
hitting it, but don’t stare at it, or you will throw your 
eye out of focus and muscles out of poise. 

3 Don’t glance vacantly at the ball, or where you 
desire to send it, but look attentively, i. e. thoughtfully 
and wait till vour eve and mind come to a focus, then 
hit it. 

I Don’t let onlookers or anything else outside vour 
particular sphere of work in hand claim the slightest bit 
of your attention or disturb your peace of mind. Placidly 
ignore everything and everybody but the business in 
band which is to hit the ball correctlv and by vour stroke 
id ace the hall where you want it. 

The expression, place the hall, has a distinct meaning 
to the golfer. The player must not merely hit the ball 


138 





GOLF FUNDAMENTALS BY SEYMOUR 


and send it toward the hole—but must make such a 
mental and physical effort in executing stroke that the 
ball lands on a certain place. If there is to be any run on 
the ball, it should then run to a certain final resting place. 

This placing of the ball applies to all shots but more 
especially to approach shots. It must be a part of your 
mental attitude to wish not only to hit the ball true, but 
also to desire to place it by your stroke in a certain spot. 
This mental effort to send the ball to a certain place 
should excite the physical effort necessary to put it there. 

5 When playing you are not to worry yourself out 
of peace of mind by theorizing on the strokes you play. 
Let your unconscious mind play the stroke for you. Of 
course you must not expect your unconscious mind to 
perform wonders for you till you have gone thru the mill 
of a great deal of practice of proper theory. We might 
say that the beginner at first has little or no golf sense. 
It comes only with a great deal of practice. It is the 
reward of the patient and persevering. 

There are some who play golf so that you would 
almost think them jointed dolls. They play solely by 
mechanical theory. To the finished golfer tliev are 
nothing but beginners. A lot of them certainly look and 
act the part, physically and mentally. They think, and 
think, and think, and think, and it is an awful bore to 
play with them. The finished golfer takes his time sizing- 
up his shot (not his stroke) and when he has done 
this he goes right up and hits the ball. In sizing up a 
shot you do not look at the ball as much as at the place 


139 






GOLF FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


where you want to put it. As you study the place where 
you want to put the ball, the inspiration to put it there 
comes over you. That is the time to hit the ball before 
you lose the inspiration of putting it there. 

6 When you have failed to produce a satisfactory 
shot in the course of a match game, then is the time to 
call theory to your assistance to enable you to diagnose 
the trouble properly. When you have diagnosed your 
trouble correctly store that knowledge away in your 
memory, and after the match make great use of the 
Twentieth Golf Fundamental. 

7 Persevere in practice of correct theory till the 
proper execution of the shot has become automatic and 
confidence is restored. 


140 












GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


FINAL TABULATION OF ALL GOLF 
FUNDAMENTALS 

1 Keep your head steady. 

2 Keep your left arm stiff. 

3 \\ ith your right arm guide club thru proper swing 

slope. 

I With your shoulder rotary action control the parallel 
of your swing. 

5 With your hands, control the facing of the club face, 

and therewith the direction of the ball’s flight. 

6 Shift your body weight, 

7 Put the power of your shoulder rotary action into 

your stroke. 

8 Put the power of your arm swing action into your 

stroke. 

9 Put the power of your wrist snap action into your 

stroke. 

10 Co-ordinate all parts of the swing. 

11 Time the stroke. 

12 With your hands transmit the full power of your 

stroke thru your club to the ball. 

13 Apply power without overstraining. 

11 Learn to make your swing automatic, 

15 When you play learn to concentrate all your atten¬ 

tion on the thing to be done— play the shot. 

16 Be sure always to look attentively at the ball, and 

without staring at it. 

17 Take aim properly. 

18 At all times have “Peace of mind.’’ 

19 Always go about correcting your errors in the right 

way. 

20 Never allow yourself to become so discouraged as to 

entertain for a single instant the thought of giving 
up. Golf is a most beneficial exercise even if you 
do not play in par. 


141 






GOLF FUNDAMENTALS BY SEYMOUR DUNN 


GENERAL SUMMARY OE THE 
GOLF SWING 

Geometric 

The golf club should travel in a proper oblique, 
elliptic plane about a steady center, with horizontal 
diameter of ellipse parallel—and club face square to the 
line of play. All this is to be attained by properly syn¬ 
chronizing lateral and vertical curves. 

Physical 

Lateral curve is created chiefly bv rotation of the 
shoulders, vertical curve by action of arms and wrists. 
Therefore it is proper blending of the correct amount of 
shoulder, arm and wrist action, plus the parallel motion 
of the hips, and control of club face by the hands, that 
creates the ideal golf swing. 

Dynamic 

The secret of distance is speed plus momentum. 
When all the foregoing are properly applied, the result 
is greatest distance and good direction with least effort. 
There should be no very great effort, as overstrain causes 
inaccuracy. The golf swing should be a powerful yet 
easy and graceful rhythm of precise motion. 

Psych ological 

Learn to go about the game in a proper frame of 
mind, making the utmost use of your mental faculties. 


142 





FUNDAMENTALS BY SEYMOUR DUNN 


CONCLUSION REGARDING THE 
GOLF SWING 

Tlie Golf Swing is an art. To master this art it 
should first be reduced to a science, based on facts and 
data gathered from analysis along sound geometric, 
physical, mechanical, dynamic, and psychological lines, 
and a theory should be evolved which covers every point, 
and which can be proved to be correct. 


143 






























GOLF FUNDAMENTALS BY SEYMOUR DUNN 


Book 4 


SEYMOUR DUNN’S 
ORTHODOXY OF STYLE 


Copyright 1922 by Seymour Dunn 
All Rights Reserved 


145 








GOLF FUNDAMENTALS BY SEYMOUR DUNN 


SEYMOUR DUNN’S 


ORTHODOXY OF STYLE 


Good style is highly desirable but not essential. 
Every student of the game should acquire a complete 
knowledge of orthodoxy of style, because the orthodox 
suggests how we might best apply the essentials. 

For style study the illustrations that follow. 

Always start to learn the game with a mid-iron, 
because it is the easiest club of the entire set to use. 


Learn the full swing first as the shorter swings are 
mere variations of the full swing. 


Divide the swing into three positions: (1) Address, 
(2) Top, (3) Finish. First learn each position. Next 
learn to go properly from one position to the other. 


147 







GOLF FUNDAMENTALS BY SEYMOUR DUNN 


THE FULL-SWING STROKE 
First Position, The Address 

How to place the club. This means 1 Adjust the 
club handle so that the club rests on that part of the sole 
midway between heel and toe. 

2 Set the bottom edge of the blade at right angles 
to the line of play. The top edge and the bottom edge 
of the blade of an iron club are not parallel to each other. 
Go t t e tc ttom ed ge, ignoring the top edge. The face 
of an iron club is built from the bottom edge up. 

3 Have the club shaft at right angles to the Tine 
of play, i. e., neither leaning towards nor away from the 
direction of play. 

THE GRIP 

To my mind the orthodox grip is the overlapping, 
finger grip with left thumb on the handle. There are, 
however, many good players who still adhere to the old 
fashioned two V grip. My reasons for adopting the over¬ 
lapping, finger grip with left thumb on the handle are 
several. Reason 1 With the left thumb on the handle 
you have a fulcrum for the left hand action, (note, I did 
not say wrist action). With this thumb on handle grip, 
there is an action in the left hand quite distinct from, and 
in addition to the wrist action, which you cannot get 
with the two Y grip. At the top of the swing the club 

handle comes away from the base of 
Left Hand Action the palm of the left hand, which is 

merely a resting point. The club is 


149 






GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


held entirely in the fingers, and more especially in the 
second, third and fourth fingers of the left hand. The 
club rests upon the left thumb. See Illustration 181, 
page 153. The thumb is a fulcrum which the second, 
third and fourth fingers of the left hand pull down 
against during the downward stroke, and it is possible 
to develop no small amount of speed from this left hand 
action. 

The palm of the right hand should completely cover 
the left thumb to support it, Illustration 182, page 153. 
My objection to the two V grip is very evident, i.e., take 
away the left thumb from off the handle and you have 
no fulcrum for left hand action, and consequently you 
will get none. Also, if the player starts out with a 
palm grip it will be impossible to get left hand action 
because if the palm grip is released at all at the top of 
the swing, the club will slip out of the palm into the 
fingers and it would be impossible to say just how the 
club might be facing when it returned to the ball. 

Reason 2 for the overlapping, 
finger grip. The more sensitive 
nerves are in the finger ends, and 
especially in the end of the thumb 
and forefinger. We want the most 
acc-ute sense of feeling possible in the club head. With 
the club handle held between the tip of the thumb and 
forefinger it is possible to get feeling in the club head 
so that it seems almost as if there were prolonged nerves 
which ran from the thumb and forefinger down the shaft 
into the very club head itself. Without the thumb upon 


Finger Grip gives most 
Acute Sense of Feel¬ 
ing in Club Head 


150 






Taking Club Handle in Fingers— 
Correct way 


The Left-hand Grippers, Second, 
Third and Fourth Fingers. 
Club Handle is well Placed 
in Roots of the Fingers 
—Correct 


Thumb and Index Finger, Feelers, 
Properly Set, i. e. Opposite 
each other—Correct 



Taking Club Handle in Palm of 
Hand— Incorrect. See above 
for Correct 


Club Handle is not well Encircled 
by the Grippers—Incorrect. 


Thumb and Index Fingers Wrongly 
Placed, not Opposite each 
other but Spread Apart— 
Incorrect 


151 



























GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


the club handle it is impossible to get the same acute 
sense of feeling in the club head. For the same reason 
that the club handle should be held in the ends of the 
thumb and forefinger, it should be held in the lingers of 
the second, third and fourth fingers of the left hand and 
not in the palm, because then, they too give a more 
acute sense of feeling in the club. See Illustration 176, 


page 151. 


In Some Cases Over¬ 
lapping Grip Gives 
Quicker Wrist Action 


Reason 3 By overlapping we 
shorten the distance between the 
right hand power and the left wrist 
fulcrum, which quickens the wrist 
action. For convincing proof of the 
truth of this statement take hold of a club with your 
hands two feet apart and try to swing the club with your 
wrists, you will soon find that the closer vou bring vour 
hands together the quicker the action of the club. It 
seems like an insignificant matter to eliminate one little 
finger to get the hands a little bit closer together, never¬ 
theless it does increase the speed of the club considerably 
provided you have very strong hands. 


In Some Cases Over¬ 
lapping Grip Balances 
tlie Strength of the 
Hands 


Reason 4 Most players are 
stronger in the right hand than in 
the left; elimination of the little 
finger places the right hand at a 
disadvantage, and this helps to 
equalize and balance the work of 
the two. 


152 





1S1 


182 


Illustrating Hand Action. Note how Club Handle has 
come away from the Heel of the Palm 
of the Hand—Correct 


Illustrating How the Palm of the Right Hand Supports 
and adds Strength to the Left Thumb which acts 
as the Fulcrum of the Hand Action—Correct 



183 

Illustrating How the Club Handle should be Gripped 
in at the very Roots of the Fingers of 
both Hands—Correct 



184 

Illustrating How the Left Thumb is Placed on the 
Club Handle, just a mere Suggestion to one 
Side—Correct 


153 
































GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


I am not advocating tlie over¬ 
lapping, finger grip because I use it 
myself. I did not always use it, in 
fact I fought against it for many 
years, but finallv had to acknowl- 
edge it to be the superior form of 
grip for the large majority. Therefore I now accept it 
as orthodox, and teach it to all my pupils except those 
with very weak hands. 

Eliminating the little linger of right hand brings 
third finger of right hand next to forefinger of left hand 
on club handle. The little finger is then allowed to over¬ 
ride the division between forefinger of left hand and 
third finger of right. 

The second, third and fourth fingers of the left hand 
do most of the gripping. The left thumb and forefingers 
I look upon as the feelers. In order that I shall not grip 
too tightly with my right hand I grip with the second 
linger of my right hand only. The callouses on mv hands 
prove this. My right thumb and forefinger are used as 
feelers also, rather than grippers. 

Next to the proper gripping of the club comes the 
proper set of the hands. This has already been dealt 
with under mechanical laws of the golf swing, funda¬ 
mental 5. 


Overlapping' Grip Best 
for Strong Hands, 
two Y Grip for Weak 
1 lands 


154 





185 


1S6 


Illustrating Third Finger of Right Hand placed next 
to the Fore Finger of the Left Hand—Correct 


Illustrating the Little Finger of Right Hand over¬ 
riding Fore Finger of Left Hand—Correct 
Completed Grip 



A Common Error. The Hands are not Braced 
against each other—Incorrect hand set 


Correct Completed Grip, showing Palm of Right 
Hand almost completely Covering Left Thumb, 
which fits perfectly into Groove of Palm 
of Right Hand 


155 









GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 



Right hand 189 Left hand 


Note the callous on the second (longest) finger of right hand, and also on the 
fourth (little), third and second fingers of left hand. It will he seen there are 
no callouses on the palm of the hands at the roots of the fingers. This is 
because the club handle is held in the fingers. 


156 









GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


THE STANCE 

For driving with the ball teed up, the player should 
pick the ball off clean, i. e. not dig the ground. The ball 
should be played from opposite a point about one inch 
inside the left heel. The object of this is to give the 
player a good chance to shift the body weight vigorously, 
and strike the ball at the climax of this bodv weight 
shifting movement. 

The very fact that the ball is forward excites this 
forward movement—the all important essential and 
source of power of the follow thru. Were the ball not 
forward, you could not follow thru and at the same time 
pick the ball off clean driving it upward. Of course we 
do not always have the ball teed up. Frequently a full 
brassy or iron shot must be played with the ball in a cuppy 
lie or lying just fair on the grass. So we may summerize 
brieflv that there are three kinds of lies: 

1 Teed up 

2 Lying fair 

3 Cuppy lie 

These three conditions are dealt with respectively 
thus: 

1 The ball is played off the left heel. 

2 The ball is played from off the center of the two 

heels. 

3 The ball is played from more nearly off the right 

heel. 


157 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


The trajectory of the ball’s flight will be different in 
each case: 

1 High 

2 Medium high 

3 Low 

The right foot should be from two to four inches 
nearer line of play than the left, because this brings right 
hip and shoulder nearer the ball. They are then able to 
do more effective work. 

The toes should be turned outward, the left more 
especially. Just how far out depends on the suppleness 
or stiffness of the joints of the particular player; not very 
far out for a supple jointed person, well out for a stiff 
jointed person, because stiff joints cannot turn as far as 
supple ones can. Placing the feet thus controls to a great 
extent the turn of the player’s body, and therefore the 
parallel of the swing. If the left toe is turned well out, 
it gives the player a better chance to go well forward 
in the follow thru. 

With right foot advanced, i. e. nearer line of play 
than left, the position of the feet is known as the Open 
Stance. A\ ith this Open Stance some players are inclined 
to *1T heel too much to the left as they go thru to the finish 
of the stroke causing misdirection to the left. In such 
cases the square or shut stance might produce better 
direction. 

*Whgel; excessive turning of the body. 


158 






GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


Square stance is both feet equidistant from the line 
of play. 

Shut stance is left foot in advance of right. 

Open stance is orthodox. 

The proper distance for each player to stand from 
the ball can be determined by experiment only. Some 
do better near the ball, while others do better well away 
from it. Then too it depends upon the club you are using. 

ith shorter clubs you stand nearer the ball than you 
would with longer clubs. 

Iu motion pictures taken for purpose of analyzing 
the swing, frames were set up on which cords were 
fastened 6 inches apart. Thus exact measurements could 
be taken of any position or motion or order of one motion 
relative to another. See Illustration 152, page 110. This 
gives a side view of my swing with the mid-iron. The 
lines indicate that my right toe is 26 inches from the line 
of play, while my left toe is 30 inches from it. With the 
driver 1 stand 4 inches further from the ball than I do 
with the mid-iron, while with the pitcher I stand 4 inches 
near than I do with the mid-iron. I stand closer to the 
ball for short swings than I do for full swings. Also the 
shorter the swing the closer the feet are together. See 
Illustration 132, page 109, using a mid-iron. It shows the 
the heels about 17 inches apart. 

You should stand so that you feel you have to reach 
comfortably for the ball, yet have the feet near enough 
to it to crowd your weight back on your heels. Never 
stand with the weight of the body on the balls of the feet, 


159 






GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


as this places the calf muscles under considerable tension 
and when you make your stroke you will be very apt to 
rise on your toes. This will cause you to top the ball. Sit 
back on your heels and reach for the ball—this is good 
advice, but don’t let your reaching lead you into excessive 
stooping. 

The knees should be slightly flexed. To have them 
back straight and stiff at the joint sets up a rigidity that 
goes all thru the body. 

The stoop should be in the spinal column. Don’t 
have the upper part of the body leaning over from the hip 
joints, keep your seat drawn in, slouchy style. This is 
the only position in which all the body muscles can be 
properly relaxed. Don’t assume 'too much stoop. It is 
too difficult to retain it at the top of the swing. Should 
you straighten up you might not resume the same stoop 
again on the way down, in which case you will be very 
apt to top the ball. The commonest cause of topping is 
assuming too much stoop at the start, and not being able 
to retain it. 

The shoulders should be tilted, the right lower than 
the left, because the right hand occupies a lower position 
than the left, and also experience has taught us that it is 
better to have the right arm bent slightly more than the 
left, as we can punch the ball out better with it so. 

T1 le player’s head should be poised so that both eyes 
are parallel with the line of play. You can then better 
visualize the line of play. 

The left arm should be as straight as it is possible to 
have it without suffering discomfort at any point in the 


160 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 



161 
















GOLF FUNDAMENTALS BY SEYMOUR DUNN 


swing. The straigliter it is the better; the more leverage 
can be gotten out of it. The back of the left elbow should 
be turned facing the line of play—not pointing but 
facing. To turn the elbow facing the line of play, it is 
necessary to twist the left arm outward well away from 
the side of the body. 

The right arm should lie tucked well in, with the 
elbow close to the body, but not so close that it will catch 
on the right hip when playing the short swings. The 
right elbow should work closely around about the right 
hip. 

We have now completed the first position and are 
ready for the preliminary waggle. 


162 








GOLF FUNDAMENTALS BY 


S E Y M O U 


DUNN 



PRELIMINARY WAGGLE 

By all means make use of tlie preliminary waggle 
as this excites the proper muscles into readiness for the 
stroke itself. It is your chance to key up your sense of 
touch, also your final chance to concentrate upon the 
stroke to be played. However don’t over-do the prelim¬ 
inary waggle—you may bore your companions. Three 
preliminary waggles should be ample for anvbodv. See 
illustrations, page 164. 


163 







HOW TO DO THE PRELIMINARY WAGGLE FOR THE FULL SWING STROKE 


164 




















GOLF FUNDAMENTALS BY SEYMOUR DUNN 


SECOND POSITION “TOP OF SWING” 

1 op of the swing is the highest point to which a 
pla} er should, swing the club in the upswing preparatory 
to the downward stroke to the ball. 

In this position the greater part of the player’s 
weight should be shifted to the right heel, because unless 
you shift a goodly portion of your weight back you can¬ 
not shift it forward. In this case there conld be no follow 
thru. Any weight that is on the left foot at the top of 
the swing cannot be shifted forward when going to the 
finish, as it is already there. 

The club should not be swung beyond a horizontal 
position over the shoulder; you would be apt to lose con¬ 
trol of your swing. A player of very powerful physique 
is better off with a shortish swing. Only players of 
slender physique can, as a rule, get any advantage from 
an extra long swing, and they must make special study 
of rhythm, because their stroke must be more of a sweep 
than a hit. The hit is more adapted to the short swinger. 

The elbows should be kept moderately close to each 
other. This slightly compresses the upper arms against 
the body which steadies them. A good trick which 
teaches this habit is to place a handkerchief under the 
right arm pit and swing without dropping it. 

The knees should not be allowed to change their 
bend as was made clear under Fundamental 1 because to 
do so would probably disturb the swing center, but both 
should be allowed to swing with the rotation of the body, 
so that the ankle joints can absorb some of the body twist. 


165 





GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


Tlie body twist should be distributed evenly tliruout the 
various joints affected, i. e. ankles, hips and spinal 
column. There should be no great strain or tension any¬ 
where except what is necessary to keep the left arm 
nearly straight. 

The grip should be so loose that the club is held by 
the crook in the little fingers of the left hand and sup¬ 
ported on the thumb of the same hand, the palm of the 
right hand resting gently but firmly against the left 
thumb assisting it in supporting the club. The fingers 
do not tighten in their grip till you hit the ball. 

The whole position should suggest ease, grace and 
power. 


166 





GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 



197 DRIVING—TOP OF SWING-SECOND POSITION 

An Action Photo 

This shows a swing rather too long 


167 




















GOLF FUNDAMENTALS BY SEYMOUR DUNN 


THIRD POSITION “FINISH OF SWING” 

The third position is the furthest point to which a 
player should carry the swing at the end of the stroke. 

Tlio the stroke is over and done with, and the ball 
has long since been hit, yet the position which the player 
assumes at the end of the stroke is of the utmost import¬ 
ance for several very good reasons. 

1 There should be perfect balance of the body 
tliruont the stroke. To retain oneself in a proper golf 
attitude at the end of the stroke requires perfect balance. 
The player who strives to retain a perfect balance at the 
end of the stroke must necessarily preserve a perfect 
balance during the stroke. The stroke itself has so many 
parts, all to be done so quickly, that the retention of 
balance during the stroke must be taken care of as one 
of the many parts of the swing. This is best accomplished 
by trying to establish the habit of retaining a perfect 
balance at the end of the swing. Since von cannot lose 
your balance during the stroke and have it at the finish, 
try to finish your swing in proper position. Thus you will 
retain a perfect balance. 

2 There is only one correct road to the proper finish 
and that road always gets the ball. Try to finish right 
and your stroke during impact will be more likely to be 
right. 

3 You might as well look like a real golfer when 
you are about it as not. Try to finish your swings 
properly and you will be more apt to be a golfer than if 
you finish “any-old-wav”. 


169 





GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


At the finish of our swing, the position should cor¬ 
respond very much with the position we assumed at the 
top of our swing. The oidy great difference is that we 
have moved our head forward from its original position 
at the top of the swing. This is caused by the complete 
shifting of the body weight in generating the follow 
thru power. I always find when I am driving a long ball, 
and driving well, that my body weight has been shifted 
so completely forward that my right toe lias been dragged 
two or three inches along the ground. 

There should lie no tenseness about the position. One 
should relax into an easy, graceful and natural position, 
and this position should be retained while you watch the 


flight of the ball. 

Beginners hesitate to do this because they think it 
looks affected. You might as well stand this way as any 
other, since it will really help your play, and console your¬ 
self with the thought that not one in a thousand will be 
looking at you at that particular moment, since all will be 
watching your ball in flight. Anyway, why should you 
care if it helps you to play better? 

I have not given a very detailed description of these 
positions because there is nothing essential about style. 
All the essential matters are taken care of under the 
mechanical and dynamic laws of the golf swing. Ortho¬ 
doxy of style merely suggests how you may best go about 
the business of applying the fundamentals. Your own 
individual stvle will assert itself in the end anyway, so 
study the essentials first. Then under the guidance of a 
capable instructor find out how you may best apply them. 


170 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 



198 DRIVING—FINISH OF SWING—THIRD POSITION 

An Action Photo 

Note scratch on ground made by right toe. The body weight was so completely shifted 
that the right toe was dragged along the ground 


171 
















GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


I would urge, however, that you stick as closely as 
possible to the orthodox style for the sake of the appear¬ 
ance of your swing. Depart from the orthodox oidy when 
a good reason is found. There is a great pleasure and 
sense of comfort in knowing that your swing looks right. 

All strokes should be executed with ease, grace, and 
rhythm. There should be a looseness, about the swing 
which however should not be carried to the extent of 


sloppiness, for with looseness and ease of the swing there 
should be a firmness and compactness about the stroke. 
There should be nothing stiff about the swing, nothing 
sloppy about the stroke. 

The full-swing stroke might be briefly described 
as action of the hips, shoulders, arms and wrists, or full 
hip action, full shoulder action, full arm action, and 
full wrist action. 


172 





199 




202 


203 

THE FULL SWING -DRIVING STROKE 


204 




201 


200 




173 









































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


FULL-SWING STROKE WITH BRASSIE 


Wlien tlie ball is played without a tee, as from the 
fairway, it should be played from more nearly opposite 
the center of the stance, and the turf scalped in front of 
where the ball lay. There should be a greater sense of 
firmness and compactness about the stroke than when the 
ball is played from off a tee. 


174 







_atiiufct. 



-T .V*K 

••ag«9jfcas»**p*ag 

jinctzaaik- 
***<■■ ">**** isis *~i2* 
i«v ■ • *■ ' 

■■■ jht nail f] 


210 



settmai 

3J -5 

J 

;«rasan**xigt 



msm *x m - 
■aiHMf 1 - 

WBiimi 

~ JW 


211 



i 

, 

mam* KM 


212 



M 43 XXM 

V?HS! 

HaBSSBBiiB*?* 
IJLli*- x* « ■ «’ 

iisejaOJHi 

i«|»a« 83 *:sxsH 
EMM: 


jt-.n s. 




FULL-SWING BRASSIE STROKE FROM FAIR LIE 
Ball is Opposite Center of Stance 


175 



















































176 


Address—Top—and Finish Positions of Full Swing Brassie Shot Stroke 






















GOLF FUNDAMENTALS 


BY SEYMOUR DUNN 


FULL-SWING STROKE WITH MID-IRON 

Most authors tell us not to take a full-swing stroke 
with mid-iron. However 1 find all the star professional 
players do it, and I know of no reason why we should not. 
Why take a three-quarter swing-stroke and drop the ball 
short in a bunker when bv a full-swing stroke you can 
put it on the green? 


177 





















































179 


ACTION PICTURES The Full Swing Stroke with Mid-iron for a Carry of 180 Yards onto a Green with Little or no Run on the Ball after Alighting 































GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


THREE-QUARTER-SWING STROKE 

The chief difference between the full-swing and the 
three-quarter-swing is that the swing is a little shorter, 
effected chiefly by the shortening of the arm action. The 
arms do not raise the club so high, and there is yet a 
greater sense of firmness and compactness about the 
stroke. This firmness and compactness increases as the 
swings grow shorter. 

The swing may therefore be briefly described as, 
7 h ree-quarter-liip action, Three-quarter-shoalder action, 
Three-quarter-arm action, Fall-wrist action, one-quarter- 
u'rist-tinst in addition to say, to make up for shortened 
shoulder action. As the swings shorten the wrist sag 
merges into a definite twist of the wrist right from the 
start of the back swing. 

The club is generally gripped a little lower down the 
handle, the stance is a little closer and nearer to the ball. 
This holds good tliruout all the other shorter swings. The 
shorter the swing, the closer the player’s feet should be 
together, and the nearer the player should stand to the 
ball. Also the hold on the club should be lower. 

The three-quarter-swing stroke is virtually the same 
for all approach clubs which are: Cleek, Driving-iron. 
Mid-iron, Jigger-iron, Masliie, Mid-masliie, and Pitcher. 

The oblique plane of the swing of course is different, 
due to the difference in the length of the shafts of these 
several clubs. The diameter of the swing is also slightly 
different. In all other respects the swing is the same. 
The club’s loft is the chief factor in producing the differ- 


181 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


ent ranges which the different clubs will produce. The 
three-quarter-swing stroke makes a difference of from 
15 to 20 yards less than the full-swing stroke would 
produce with the same club. 

In all swings where vertical wrist action is used, 
there should be a full 90° lateral turn of the club head 
each way to top and finish of swing. If the swing is of a 
length where the shoulders do not make a full 90 turn 
to right and left, the wrists must make up the deficiency. 


182 













ACTION PICTURES The Three-Quarter-Swing Stroke with Mid-iron in Motion Picture Seiies 


183 




















































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


HALF-SWING STROKE 

Tlie half-swing stroke differs from the three-quarter 
in that the swing is shorter, the difference being effected 
chiefly by reducing the extent of the upward and down- 
arm action. The club rises by bending action of tlie 
wrists chiefly. The swing might therefore be briefly 
described as follows: Half-hip action, Half-shoulder 
action, Half-vertical-arm action, Full-wrist action , Half- 
wrist-twist in addition to the sag. 

The half-swing stroke may be used with any of the 
approach clubs and the difference in yards will be from 
AO to 10 yards less than a full shot, 30 in the case of the 
pitcher, and 40 in the case of the cleek, and a correspond¬ 
ing difference in between for the in-between clubs. 


184 












ACTION PICTURES 


The Half-Swing Stroke, with Mashie in Motion Picture Series 


185 




























































GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


QUARTER-SWING STROKE 

The quarter-swing stroke differs from the half-swing 
stroke chiefly in the amount of power applied. The 
length of the two swings is very much the same. The 
difference is effected mainly by elimination of the hip 
power. The player should not shift the body weight from 
one foot to the other, but play the stroke with the body 
weight on one foot or the other thruout, applying the 
wrists vigorously. Personally I prefer to keep my 
weight on my right foot thruout the stroke, and there¬ 
fore, and because there is no hip power in the stroke, 
the ball does not go as far as it would were hip power 
applied. The wrists are unaided by the hips, the stroke 
being played almost entirely by the wrists. 

The shoulders do not turn as much as in the longer 
swings and therefore the wrists get very little if any 
assistance from them. What lateral rotation the shoul¬ 


ders do not supply is made up for by a very considerable 
twist of the wrists. The arms do very little to assist the 
wrists. What ever action they do make is done more in 
sympathy with the wrists than to generate power. 

The quarter-swing stroke might truly be called a 
wrist stroke since both the lateral and vertical action is 
done almost entirely by them alone. 

When the ball lies none too well, as in a cuppv lie, 
or in heavy grass, or in soft sand, the wrists should be 
used vigorously or not at all. If the wrists cannot be 
used vigorously because it might send the ball too far, 
then do not use wrist action at all. Play the stiff-wrist- 
arm-and-shoulder-swing chip-stroke. There is nothing 


186 









The Quarter-Swing Stroke in Motion Picture Series 


ACTION PICTURES 


187 


































































138 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


STIFF-WRIST-ARM-AND-SHOULDER-SWING 

CHIP-STROKE 


Tlie stiff-wrist-arm-and-shoulder-swing chip-stroke 
is used for approach shots of any length less than the 
quarter-swing stroke, and especially for lies that are none 
too good—such as heavy grass. 

lake other approach strokes it may be played hi 
various forms, the principal forms being: 

1 Running chip-stroke, usually played with mid- 

irou. 

2 Pitch-and-run chip-stroke, usually played with 

masliie. 

3 Pitching chip-stroke, usually played with pitcher. 

The different loft of the clubs used is chiefly respon¬ 
sible for the difference in the ball’s trajectory, but there 
is also a slight difference in the manner of handling the 
clubs. For all running chip-strokes the player’s body 
should lean considerably towards the hole so as to 
advance the swing center. This enables the player to 
strike the ball a “beat it down” stroke thus forcing the 
ball to run along the ground. It safeguards the player 
against the fatal error of hitting the ground first before 
the ball. If conditions of ground undulation encountered 
require that the ball be made to run, handle the club and 
so strike the ball as to compel it to hug the ground and 
run along it. Do not let the ball rise and pitch. It might 
pitch just where you did not want it to and be deflected 
from the line. In playing the stiff-wrist-arni-and- 
slioulder-swing running chip-stroke the ball is struck a 
distinct hit. 


189 





GOLF 

FUNDAMENTALS 

B Y 

S E Y M O U R 

DUNN 



For the stiff-wrist-arm-and-shoulder-swing piteh- 
and-rmi cliip-stroke, the stroke should be played 
normally, i. e. the ball should be struck when the club 
reaches the bottom of the arc of the swing. The club 
should be carried thru the grass in a manner which might 
be described as: “scraping the ball out of the grass”. 
Of course, the student understands the ball must be fairly 
struck, the rules of the game require it. Nevertheless, 
it is quite within the bounds of possibility to strike the 
ball a certain peculiar kind of stroke. For instance, we 
might strike the ball a sweeping stroke, or a pushing 
stroke, or a beat-it-down stroke, or a scoop-it-up stroke, 
or a jerk-it-out-stroke, or a scrape-it-out stroke, or a hit- 
it-a-smart-tap stroke. Most of these terms are clearly 
barred by the rules, but what the rules mean, and what 
I mean are two entirely different things. I mean that 
the ball should be struck as the rules require, and the 
rules do not prohibit striking the ball a pushing, jerking, 
or scraping stroke. When the ball lies in fairly long- 
grass, strike it a scoop-it-up stroke. This can be done 
only with the wrists stiff and the action of the stroke 
coming entirely out of the right arm and right shoulder, 
every muscle set firm. 

For the stiff-wrist-arm-and-slioulder pitching chip- 
stroke, the ball should be struck a “scrape-it-up and 
throw-it stroke”. The feeling I have when I play this 
kind of stroke is that I “scoop the ball up and toss it onto 
the green with my club”, just as one might scoop up a 
handful of water and throw it over a fellow bather all in 
one continuous movement. By striking the ball in this 


190 









288 



289 



ACTION PICTURES The Stiff-Wrist-Arm-and-Shoulder-Swing 
Running Chip-Stroke, with Mid-iron 


191 
























GOLF FUNDAMENTALS BY SEYMOUR DUNN 


way one can become certain of extracting the ball from 
almost any bad lie and at the same time control the 
distance by the throw part of the movement. When I 
have one of these strokes to play, I go about it in a frame 
of mind as if the ball were a 10-lb. weight, and a stubborn 
10-lb. weight at that. The ball seems determined to drop 
short into a bunker which might be between me and the 
green, but I am going to be more determined that it 
is not going to Hub into the bunker, but is going to be 
scooped up out of that deep grass by sheer muscular 
effort and be lifted on the green. At the same time 
there is going to be no more speed in the stroke 
than is required to lift it out and on to the green. By 
sheer brute ^strength I am going to maintain that speed 
no matter what the club may encounter. I say to myself, 
so to speak, “The handle of the club is going to come with 
me even if the club head and ball do not.” 

One is much surer of at least a fair result if the 
lieavy-lie chip-shots are played this way than by a flimsy 
wrist action. 

In playing the stiff-wrist-arm-and-shoulder-swing 
chip-stroke, a short arm-and-shoulder action, without any 
wrist action at all, is best. The heavier muscles of the 
arms and shoulders if firmly set are much more positive 
and compelling in their action than a loose flimsy wrist 
action. If ball’s lie is none too good, there is nothing so 
treacherous as a spared wrist action. It is almost a fore¬ 
gone conclusion that you will foozle the shot, because 
there is no backbone in a loose spared-wrist action. 

With the stiff-wrist-arm-and-shoulder-swing chip- 
stroke be sure to grip very tight with both hands and be 


192 






293 


294 


ACTION PICTURES 


Pitch-and-Run Stiff-Wrist-Arm-and-Shoulder-Swing-Chip-Shot Stroke with Mashie 


193 






























GOLF FUNDAMENTALS BY SEYMOUR DUNN 


more especially sure to grip tight with the right hand. 
This is just the reverse of what should be done when a 
wrist action stroke is being played. If the wrists are to 
be used the grip must be loose. Gripping tight stiffens 
the wrists. Since we want stiff wrists in the stiff-wrist- 
arm-and-shoulder-swing chip-stroke, do not be afraid to 
grip as hard as you can, since stiff wrists is just what 
we need to put backbone into the stroke. 

The right hand and right arm should be master 
in the stiff-wrist-arm-and-shoulder-swing chip-stroke 
because better control is possible. In order that the right 
hand may exercise full control over the club do not over¬ 
lap with the little finger of the right hand. Place all 
fingers on the club handle. Also place the right thumb 
squarely on top of the handle as well as the left thumb. 

Many players fail miserably in these short shots from 
long grass because they accelerate the speed of the club 
above what it should be for the distance to be played 
under normal conditions. They figure the acceleration 
will overcome the grass resistance. This is quite wrong 
because when the ball comes out more easily than they 
expected, away goes the ball clean over the green like a 
crazy thing and perhaps into the bunker beyond. Not 
extra speed but sufficient momentum to maintain the 
proper speed is what is needed. Estimate the speed 
required for ordinary circumstances and by firm work 
with firmly set arm and shoulder muscles, back up the 
speed so as to maintain it in spite of adverse possibilities. 
Anticipate also the possible accidental contact of the 
club with the ground before it reaches the ball and be 
prepared with enough muscular effort to drag the duly 


194 









ACTION PICTURES The Pitch-and-Run Stiff-Wrist-Arm-and-Shoulder-Swing Chip-Shot-Stroke for 60 
, Yards in Motion Picture Series 


195 














































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


ball and everything thru and out. If the club head (joes 
thru, the ball must. If the club's speed is right the ball 
must go the right distance. 

In playing the running-cliip-shots I like to play the 
ball from oft the left heel, with the body weight on the 
left foot, and a pronounced lean of the body towards the 
hole. 

The pitch-and-run-chip-shots I like to play with the 
ball opposite the center of the heels with the feet close 
together except when the ball is to be played from heavy 
grass. Then the feet should lie well apart in order to get 
well braced for the necessary strength to be used. 

The pitcliing-cliip-shots I like to play with the ball 
more nearly opposite the right heel. There is absolutely 
no logical reason why I should particularly prefer to play 
the different forms of the chip-shot with the ball in the 
different places mentioned. It is simply a personal fancy. 

I could reverse the order and get the same results. 
In fact I do not always adhere to this order myself. See 
Illustrations 291, 292, 293, and 294, page 193. They show 
me playing a pitcli-and-run-chip-stroke off the left heel, 
while the motion picture group on page 195 show me play¬ 
ing the same stroke off the center. Center is orthodox. 

In the matter of style I play my shots as the inspira¬ 
tion of the moment leads me. 

In this stiff-wrist-arm-and-shoulder-swing stroke 
there is absolutely no wrist action of anv kind, neither 
twist or bend. The club head does not turn 90° to the 
right and left and the swing has practically no lateral 
curve in it. The swing so far as lateral curve is concerned 


196 












ACTION PICTURES The Stiff-Wrist-Arm-and-ShouIder-Swing Pitching-Chip-Shot-Stroke, 30 Yards, in 

Motion Picture Series 


197 













































GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


is almost a dead straight line from start to finish along 
the line of play. The shoulder action of course causes a 
slight lateral curve, but very slight. 

Depending on the length of the swing the stiff-wi'ist- 
arm-and-shoulder-swing chip-stroke might be briefly 
described as, little or no liip action, partial shoulder 
action, partial arm action, no wrist action. 


198 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


SPARED-LOOSE-WRIST-SWING-CHIP-STEOKE 


Tlie spared-loose-wrist-swing chip-stroke is used for 
approach strokes of any length less than the quarter 
stroke. It is only for lies that are good, i. e. when the ball 
sits up well clear of all obstruction that would interfere 
with the free swing of the club. The stroke may be used 
for chipping out of a sand bunker provided the sand is 
packed down hard and smooth as the sand in bunkers 
sometimes is after a rain, or when the ball lies practically 
teed up in the bunker as occasionally happens. 

It must always be possible to shave the ball off clean 
without touching the sand at all. The stroke is an 
extremely delicate one and there is absolutely no margin 
for error. The club must literally shave the ball off 
clean. This is where absolute steadiness of the player’s 
head is imperative. 

The advantage to be gained from this spared-loose- 
wrist-swing-stroke is that it is possible to get a back spin 
on the ball that will stop it almost dead when a pitcher is 
used. Therefore greater accuracy in pitching the ball up 
to the hole is possible than would be the case with the 
stiff-wrist-arm- and-shoulder-swing chip-stroke. 

If the ball lies well and extreme delicacy of touch is 
required, one might play either a running up or pitching- 
chip-shot with this loose spared-wrist-action-stroke but 
you must feel so inspired that there is greater confidence 
in your ability to execute the shot more successfully that 
way. The chief purpose of the stroke is to get backspin 
stop on the ball when nothing else would do. If the ball 
lay none too well and there was a bunker between me and 


199 







GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


the green I would not dream of using this stroke; instead 
I would play the “Jab” stroke, or the stiff-wrist-arm-and- 
shoulder-swing stroke. There is nothing so treacherous 
as the spared-loose-wrist-swing stroke. The least thing 
will upset it, in which case the result is almost certain to 
be a complete farce. 


I have seen many a championship lost, and many 
more fine scores completely ruined by some of the most 
noted players on account of using the loose-spared-wrist- 
action stroke when the stiff-wrist-arm-and-slioulder- 
swing stroke should have been used. 

Nevertheless, the spared-wrist stroke is one of the 
regular strokes of the game and should be mastered. 
There are occasions when absolutely nothing else would 
do. 


If the spared-wrist stroke is used for a running up 
shot, the ball is struck a tap. For the pitch and run a 
flick. For pitching with dead stop a flicking cut under 
the hall. 

As is the case with the stiff-wrist-arm-and-shoulder- 
swing chip-strokes the ball may be played from off the 
left heel, the center, or the right heel as the fancy or 
natural style of the player dictates. 

In playing with the ball opposite the left heel, the 
body weight should be entirely upon the left foot. The 
body is then more likely to be absolutely steady. If 
played off the right heel, have the body weight on the 
right foot. 

If played off the center of the heels, have the feet so 
close together that the heels touch each other or nearly 


200 






321 


322 


ACTION PICTURES The Spared-Loose-Wrist-Swing-Chip Stroke 


201 














































GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


so. The reason for this is to centralize the balance on one 
point. With the feet wide apart, you have a wide base to 
move about on. With a centralized base you cannot move 
about without losing your equilibrium. Since no great 
effort of the shoulders is to be made in this spared-wrist 
stroke, the narrow stance may be used. 

In the running-spared-wrist-chip-stroke the ball may 
be struck a downward tap, or tapped off clean at the 
bottom of the arc of the swing. 

In both the pitcli-and-run, and pitching-spared-wrist- 
eliip-stroke the ball should be flicked off clean at the 
bottom of the arc of the swing. 

For loose-spared-wrist-action strokes, the grip must 
be very loose; the more delicate the stroke to be played, 
the looser the grip should be. The overlapping grip as 
outlined for the full swing is most desirable. One might 
even go one better and overlap with two fingers of the 
right hand on top of the first and second fingers of the 
left hand. This permits a yet freer and more delicate 
wrist action. 

For this stroke the club should be held mainly 
between the thumbs and index fingers, as this permits a 
yet more delicate touch. The left hand must of course be 
the master of the two in order that the left wrist will be 
the fulcrum or center of the wrist action. 

The spared-loose-wrist-swing chip-stroke may be 
briefly described as no hip action, no shoulder action, no 
arm action, nothing but a combination of bending and 
twisting wrist action and only as much as the particular 
instance requires. 


202 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


I have stated above no shoulder action and no arm 
action. By that I mean there is no shoulder or arm action 
to generate power. The shoulders and arms do, however, 
have a slight action but this is only in sympathy with the 
wrists, i. e. they lend themselves to the wrists for the sake 
of avoiding stiff awkwardness. 


203 















































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


THE JAB-SHOT STROKE 
Scientific Stroke 

The jab-stroke is used in two ways to jar the ball out 
of a bad cuppy lie. 

1 The stroke may be used to make a ball jump up at 
a very sharp angle to clear a steep face such as is some¬ 
times found in a grassy hollow at the edge of a green, and 
where the ball lies so badly cupped that it would be 
impossible to play an undercut shot. In playing the 
stroke for this purpose the club is jabbed into the ground 
an inch back of the ball with great force and in such a 
way as to cause an upheaval of the soil immediately back 
of and underneath the ball so that by this upheaval the 
ball is thrown up onto the green. There is no follow thru 
of the club head, the stroke being very much down¬ 
ward and the club head is buried in the soil under 
where the ball lay. Great care must be taken to not touch 
the ball with the club. The upheaval of the soil must do 
the work alone. See illustrations, page 206. 

2 When the ball lies badly cupped and distance is 
required, hit the hall jarring it out. Drive the ball down¬ 
ward against the soil compressing it between the club and 
the ground so as to burst it out. The ball will take its 
rise from off the ground and sail away like a bullet. In 
this case the club head should he made to follow thru if 
possible. See illustrations, page 207. 


205 










THE JUMP-OUT-JAB-STROKE 


A SCIENTIFIC STROKE 


206 














































DISTANCE JAB-STROKE 


207 












































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


UNDERCUT-CUT-SHOT-STROKE 

Scientific Stroke 

In all cut-sliot strokes “cut" means to strike tlie ball 
a glancing blow. A combination of errors of the golf 
swing (violations of the mechanical laws) is used to pro¬ 
duce an abnormal result. The ball may be side-cut either 
way to produce a curved flight, to circumvent some 
obstacle such as a tree. Also it may be undercut to pro¬ 
duce an abnormally high trajectory, whereby it mav be 
made to rise high enough to clear an obstacle by going 
over it. Sometimes a ball is found in a deep wheel rut 
which is not running in the direction towards the hole 
but off somewhat at an angle. Because of the deepness 
of the rut the club must be swung in the direction of its 
course. In a case of this kind, the club may be swung 
in the course of the rut while the club face is kept facing 
towards the green. The ball will go in the direction in 
which the club faces if struck fairly. This is another 
form of cut-shot. Cut, then, is a thing that can be applied 
in many ways, to meet a great variety of conditions. It 
may be used to any degree, with any stroke, with any 
club. You may side-cut either way a brassie shot around 
a tree, or you may side-cut either wav a mid-iron shot 
around a tree, or you may put a little extra under-cut on 
a spoon shot to help clear a hillock. These suggestions 

are only illustrative. 

*/ 

Illustrations 342 to 356, page 211, show an undercut 
cut-shot played over a bush, and shows almost the max¬ 
imum possibilities in elevating a ball at a sharp angle. 


20 !> 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


Tlie pitclier is used. The abnormal principles employed 
were to off-set the club face, and drop the handle. Off-set 
means to turn the club face “off”, i. e. back so that it has 
more loft. This alone would cause a slice, but not if we 
depress the club handle. 

To elevate the ball at an abnormally sharp angle you 
try to cut the club face more under the ball than usual, 
striking the ball at a point more underneath than ordi¬ 
nary circumstances would call for. Use a smooth faced 
club. 


210 













ACTION PICTURES 


The Elevating Undercut-Cut-Shot-Stroke, in Motion Picture Series 


211 




















































GOLF 

FUNDAMENTALS 

B Y 

S E Y M O U R 

DUNN 



CURVE-TO-RIGHT-CROSS-CUT STROKE 
Scientific Stroke 


To curve a ball sharply to the right to circumvent a 
tree or other obstacle, aim to left and swing the club in a 
course across the line of play swinging club down outside 
line of play cutting across to inside line of play. 

At impact club face must be at “offset” facing some¬ 
what to the right by having club handle somewhat ahead 
of the club head. Also hit off heel end of club face. 
Experiment alone can teach how much of each is required 
to produce a certain amount of curve in the ball’s flight. 
See class 2 Slice, page 75. 


212 









CURVE-TO-RIGHT-CROSS-CUT STROKE 


213 

































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


CURVE-TO-LEFT-CROSS-CUT STROKE 
Scientific Stroke 


To curve a ball sharply to the left to circumvent an 
obstacle, apply the opposite principles given for the curve 
to the right. Aim to the right and swing club down Avell 
inside line of play cutting across to outside, with club 
head at impact slightly ahead of handle. Also hit off toe 
end of club face. See class 2 hook, page 77. 


214 








I 





363 


364 


CURVE-TO-LEFT-CROSS-CUT STROKE 


215 


























































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


PUSH-SHOT STROKE 
Scientific Stroke 

In the push-sliot stroke, push means to strike the 
ball in such manner as to depress the ball’s trajectory 
making it fly low yet with a lot of under spin on the ball 
so that it will drop dead when it lands. 

To produce this effect, advance the swing center so 
that ball is struck just before club reaches the bottom of 
the arc of the swing. Strike a downward glancing blow 
on back side of the ball as if it were your intention 
to drive the ball into the ground at a very slight angle. 
The loft of the club will take care of the ball’s trajectory, 
but it will not rise as high as it would ordinarily because 
of the beating down nature of vour stroke. Always beat 
down to such an extent that you take a very considerable 
divot in front of where the ball rested. 

The object of this stroke is to prevent head wind 
from retarding or carrying the ball goodness knows 
where. 

Whereas one might play a 110 yard hole on a still day 
with a perfectly natural full mashie shot, with a strong- 
head wind against you, the wiser thing to do would be 
to play a half-swing-stroke push-shot with a mid-iron. 

Like cut , push may be applied to any degree, and 
used with any club and applied with any length of stroke. 
A little push applied with any club, produces a trajectory 
slightly lower than the club used would ordinarily pro¬ 
duce. The stroke is a cut stroke, i. e. it is downward cut 
on the back side of the ball and since the ball is struck 


217 






GOLF FUNDAMENTALS BY SEYMOUR DUNN 


before tlie club reaches the low point in the arc of the 
swing, the effect is to shoot the ball out low flying on a 
plane. The underspin causes the plane flight effect 
holding the ball in the air till its forward momentum is 
practically spent so that it drops almost dead on the 
green. The remaining back spin on the ball makes it 
act as if it had feet and it looks as if it had dug its heels 
in deep and sat down. 

Many of our great golfers play almost every shot 
with either a little push or cut in the stroke. When one 
has mastered the stroke it is a great deal easier to shoot 
a ball straight on the line using a push-stroke than any 
other. 


218 











219 
























# BEAD-STOP STROKE 
' Scientific Stroke 

Many players find it very difficult to cause a ball to 
stop dead, on the short pitch shots of approximately 
50 yards. 

I lie way to do this, is; to play a stroke which is a 
combination of, 1. the Push-Shot Stroke, 2. the Cross-Cut 
Stroke, cutting across the ball from outside the line of 
play before impact, to inside the line of play after impact, 
at a very pronounced angle. 

The reason for applying the Push-Shot Stroke effect 
on the ball is; that when the club face conies in contact 
with the ball in the Push-Shot Stroke, it strikes a point 
high up on the back-side of the ball. 

The higher up you strike on the back-side of the ball, 
the greater the speed of the ball’s spin. 

It is a popular, but erroneous impression, that the 
more you strike under the ball, the greater the speed of 
spin imparted, but this is not so. 

The reason for cross-cutting the ball is; that by so 
doing one can swing the club at very'much greater speed, 
thus imparting a very much greater speed of spin to the 
ball. 

Because of the glancing nature of the stroke the ball 
does not go a great distance, yet because the club head 
is travelling at a great speed, a high speed spin is 
imparted to the ball. This kills its forward motion when 
it lands. 

The ball rotates at a speed many times faster than 
the speed of its forward momentum. 


221 







GOLF 

FUNDAMENTALS 

B Y 

SEYMOUR 

DUNN 



Cut downwardly and crosswardly on the back-side 
of the ball, the finer you cut the stroke the faster you 
mav swine' the club, there will also be greater stopping 
effect on the ball. 

Use a club with plenty of loft and sharp, rough cor- 
rigation on the face, so the club face will grip the ball 
and set it spinning as it glances by. 

When the ball lands it will break to the right a yard 
or so, therefore you will have to allow for this, by playing 
somewhat to the left of the hole. 

It is quite possible to impart a spin to the ball that 
will make it actually run backwards after alighting. 
Generally the ball does not run backwards till after it 
hits the ground on the second bounce. 



222 












223 










































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


SI I ORT-JUMP-OUT-EXPLOSK )N-STR OKE 

Scientific Stroke 

The sliort-jimip-out-explosion-stroke is used for 
extracting a ball from a sand hazard which is at the very 
edge of the putting green, if the ball lies in a heel mark 
or other depression close up against a steep face and 
therefore can not be cut out clean. 

Always nse a full swing when playing explosion 
strokes. Never swing half lieartedlv. Hit the sand 
immediately back of and under the ball a more or less 
downward chop blow, so that the force of the blow will 
cause an upheaval or explosion of sand which carries the 
ball out. 

Do not try to follow thru but bury the club head in 
the sand under the spot where the ball lay. 

Hit the sand within one inch of the ball. Do not 
touch the ball with the club. Let the rush of sand do the 
work. Be sure to hit the sand hard. Stand well ahead 
of the ball so that the stroke can be directed very much 
downward. See illustrations, page 226. 

Regulate the distance the ball is to travel by where 
you strike rather than by the force of the blow. 

If you hit the sand a hard blow within 1 inch of the 
ball, it should jump about 15 feet. Hit 2 inches back of 
the ball for 10 feet. 









226 


THE SHORT-JUMP-OUT-EXPLOSION STROKE WITH NIBLICK 



























373 

SHORT-JUMP-OUT-EXPLOSION STROKE 


227 




















GOLF FUNDAMENTALS BY SEYMOUR DUNN 


L( )NG-J UMP-OUT-EXPLOSION-STEOKE 
Scientific Stroke 


The long-jump-out-explosion stroke is used to 
extract a ball from the far side of a bunker which is close 
to a green. The only difference between this stroke and 
the short-jiunp-out-explosion stroke is that you should 
follow thru the sand and not let your club stick in it. 
You should hit the sand under the ball just the same, and 
without touching your ball with your club, carry the 
stroke on thru as if you were bent on covering the entire 
putting green with sand. Since you are to follow thru, 
play the ball from opposite the center of the stance. 

Whereas the short-jump-out-explosion stroke sends 
the ball a matter of 10 to 15 feet, the long-jump-out- 
explosion stroke will send it 30 to 50 feet, using the same 
force. 


Use full, three-quarter, or half stroke, depending on 
conditions and distance desired, and scoop up sand with 
the ball. The club should begin to enter the sand 4 to 6 
inches before reaching the ball. Scoop up sand to a depth 
of l/ 2 inch below the ball and follow thru. The sand 
between club face and ball acts as a cushion absorbing 
the club head shock without checking its momentum 
which insures a “get out” with a little distance. 

When you want to get considerable distance out of 
a bunker, 1 lit the ball of course, not the sand. 


229 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


When the ball is found sitting up nicely teed, or 
lying very clear on hard smoothly packed sand, it might 
be better to chip it out with a pitcher or masliie, playing 
a loose-wrist-cliip stroke. 

The niblick is generally the best club to use in a 
bunker, tlio not always. It depends on what you have to 
do and how the ball lies. Sometimes it is best to use a 
putter. 












376 


BUNKER SHOT LONG-JUMP-OUT-EXPLOSION STROKE 


374 


375 






231 
































GOLF 

FUNDAMENTALS 

B Y 

S E Y M O U R 

DUNN 



BANK SHOT 
Scientific Shot 

The bank shot is an extremely useful shot under 
certain conditions; for instance, (a) the hole is close to 
your edge of the green, (b) the green slopes down grade 
towards the hole, (c) there is a gently rising bank leading 
up to the edge of the green, (d) your ball is at a little 
distance from the bank. See Illustration 378. 

To pitch a ball onto the green and have it stop at the 
hole would be extremely doubtful, therefore the wise 
tiling to do would be to bank the ball against the slope 
and thus have it run up the bank onto the green with just 
enough speed so that it will trickle down to the hole. 

Frequently the ball may lie found lying even in a 
hazard where to play this shot would be the only practical 
thing to do. 

In playing this shot the player must estimate the 
resistance of the bank or slope and strike with sufficient 
force to make the ball bound upward or run upward onto 
the green. 

The shot may be played with any straight face club, 
such as the driving-iron. I think however, the putter 
is best. 


232 









233 


BANK SHOT from off the fairway 





















































































■ 







V 


. v 













































GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


BUNKER STROKES 

A variety of strokes may be played from bunkers 
depending of course on conditions. 

1 The short- jump-out-explosion stroke. 

2 The long-jump-out-explosion stroke. 

3 The spared-loose-wrist-action-swing-under-eut 

stroke. 

4 The stiff-wrist-arm-and-shoulder-swing stroke. 

5 The running-out stroke with putter. 

6 Angle shots can also be played from bunkers, see 

contents. 

7 If the ball lies well and distance is desired play 

a quarter, half, three-quarter, or full-swing 
stroke with any of the approach clubs depend¬ 
ing on conditions and requirements. Even a 
full-swing stroke with a brassie or spoon may 
be attempted if conditions are favorable. 






GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


CROSS-WIND STROKE 

Scientific Stroke 

For Intentional slicing and hooking to counteract 
cross wind, hit off toe or heel of club face. When wind is 
blowing across from left to right, hit off toe end of club 
face for hook. When wind is blowing across from right 
to left, hit of heel end of club face for slice. 

This is the best wav to cause curve because it comes 
into effect when needed, i. e. at the tail end of the flight. 

W hen playing against the wind, play the push-shot 
stroke. 

If the wind is blowing a gale in your teeth and the 
way is free of obstacles, deliberately half top the ball, 
and it will run like a rabbit. 











GOLF 

FUNDAMENTALS 

B Y 

S E Y M O U R 

DUNN 








386 


Punching it into the teeth of a head wind 


237 
















GOLF FUNDAMENTALS BY SEYMOUR DUNN 


HILLSIDE STROKE UP GRADE 

Wlien playing an np-liill stroke, simply ignore the 
earth’s natural perpendicular and stand perpendicular to 
the slope of the ground from which you have to play. 
Have the ball well forward opposite the left foot, and 
otherwise endeavor to swing in the natural way as far 
as possible. When playing up-hill you will naturally 
lean down-hill, therefore the greater part of the body 
weight will be on the right foot. Use a club with verv 
little loft in order to avoid skying the ball. 


23S 














PLAYING AN UP-HILL STROKE 


239 























































GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


HILLSIDE-STROKE DOWN-GRADE 

When playing a down-hill stroke, simply ignore the 
earth’s natural perpendicular and stand perpendicular to 
the slope of the ground from which you have to play. 
Play the ball from more nearly opposite the right foot, 
and otherwise endeavor to swing in the natural way as 
far as possible. When playing a down-liill stroke you 
will naturally lean down-liill, therefore the greater part 
of the body weight will be on the left foot. Ltse a club 
with sufficient loft to raise the ball well. Here the spoon 
brassie is very useful. 


240 






402 



403 



404 


PLAYING A DOWNHILL STROKE 


241 












GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


HILLSIDE STROKE 
Ball Above Level of Feet 

When the ball is above the level of your feet, take a 
short hold of the club, stand well away from the ball, and 
make a flatter swing than usual. Look out for a hook 
and allow for it by striking a little inside the center of 
the club face. 


242 









HILLSIDE STROKE BALL ABOVE LEVEL OF FEET 


243 































GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


HILLSIDE STROKE 
Ball Below Level of Feet 

When the ball is below the level of the feet, take a 
long hold of the club, stand nearer to and more over the 
ball, and make a more upright swing than is usual. 

Look out for a slice, and allow for it by striking a 
little outside the center of the club face. 



244 









HILLSIDE STROKE BALL BELOW LEVEL OF FEET 


245 




















































GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


ANGLE SHOT 
Scientific Shot 

The angle shot sends the ball off at an angle from the 
direction of the swing. 

It sometimes happens that the ball lies in an awk¬ 
ward position, as for example in a wagon rut not running 
in the direction of the hole and so narrow and deep that 
it would be impossible to swing the club in the direction 
of the hole and at the same time hit the ball. It is fre¬ 
quently possible nevertheless to send the ball in the 
desired direction by facing the club toward the hole and 
swinging it in the direction of the course of the rut. The 
ball will go in the direction the club faces and not in the 
direction in which the club is swung. Such conditions 
are met quite frequently and the difficulty overcome by 
use of an angle shot. 


246 






ANGLE SHOT 


247 































GOLF FUNDAMENTALS BY SEYMOUR DUNN 


LONG PUTT STROKE 

The all-important essentials of good putting are: 

1 Proper Line of the Putt and Proper Angle of 

Chib Face Thereto. 

2 Touch, or Proper Form of Propelling the Ball. 

3 Mind, or Proper Psychological Concentration. 

1 On undulating greens, the line to the hole is not 
always perfectly straight. A player should make it a 
habit to walk to a position 10 or 12 feet behind his ball 
as lie walks on to the green to play the putt. Dip down 
for an instant and study the putt. From this low position 
and with eyes level undulations of the green can he seen 
that are quite invisible to the player who steps right up 
to the side of the ball and plays. Side slopes and little 
inequalities of the ground are not so plainly discernible as 
from the low rear view. The beginner when asked to do 
this frequently says: “But this means nothing to me”. 
Quite so, and it never will if you do not do it and learn to 
see those little things which affect the ball’s course 
enough to make you just miss your putt. 

Seeing the line of a putt has for the experienced 
golfer a meaning entirely different from that which the 
mere word conveys to the beginner. An experienced 
player might look at a putt, and look again and again at 
it and remark: “I cannot see the line of that putt to save 
my life”. Then all of a sudden he might burst out with, 
“Ah, I see it now”. "When he does see it, it becomes as 
vivid to his eve as tho it were drawn out in whitewash. 
The beginner sees the ball and the hole and that s all. He 


249 






GOLF 

FUNDAMENTALS 

B Y 

S E Y M O U R 

DUNN 



is not able to visualize a vivid picture of the course over 
which the ball must be sent if it is finally to drop into the 
hole. That is what we call “seeing the line of the putt . 
The beginner cannot see the line of a putt because it is 
a thing which can be learned only by experience. The 
point I wish to emphasize is the necessity of learning to 
see the line of the putt by studying the ground and 
watching results. The only position from which one can 
properly study the ground and likely line of the putt, is 
the one shown in Illustration 433. 

Should the ground slope to the left, the player must 
play accordingly somewhat to the right of the direct line 
to the hole, as the ball will always work its way down a 
slope. Frequently there is a combination of slopes, one 
offsetting the other somewhat. A case of this kind calls 
for very accurate judgment. If the slopes be equal the 
first slope will effect the ball’s course less than the second, 
because of the difference in the ball’s speed. 

When you have decided as to the line, the next thing 
is to set yourself in position so that you will swing your 
club in the proper course relative to that line. Also set 
the club face so that it faces at a proper angle to it: 
square. Tlio you will find some good players putting 
off the toe of the putter face, common sense dictates that 
we should aim to strike with the center of the club face, 
as it is the only true center of gravity. 

2 Touch. In the long running up putts, the ball 
should be struck a sweeping blow, following thru in a 
straight line, with club face kept square to intended line 
of play. 


250 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 



251 












GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


3 Mind or proper psychological concentration. The 
chief cause of failure to putt well is due to the fact that 
most players take it too much for granted that just 
because they have set their putter square and set them¬ 
selves to swing the putter in a certain line, that they will 
keep the club face square, arid swing it along the proper 
line. In 99 cases out of every 100, bad putting is caused 
by sheer neglect of, or lack of proper automatic control 
of the putter head. As they are about to hit the ball they 
look up as if in anticipation of the ball going astray or 
the hole running away. The hole cannot run away and 
you cannot influence the ball’s course with your eye after 
you have hit it. The mind must not be occupied with the 
thought, “I wonder if T am going to miss this one”. 
Because of this thought you look up in a way as if afraid 
the hole would run away, or as if you could change the 
ball’s course if it did not happen to tie right. Think of 
the things that will insure your sinking it, i. e. proper 
control of the putter head, that is what puts the ball in 
the hole. 

While a student of the game is going thru the period 
of learning to putt, i. e. putting by mechanical theory, 
a good look should be taken at the ball, then at the hole, 
and finally at the ball again; thus getting the proper 
physical and mental “set” for the putt. The student 
should not look at the hole or the ball as it travels towards 
the hole, but keep the mind deeply engrossed on what is 
being done with the putter head. This applies to the 
learner and not to the finished golfer who has already 
mastered the art of putting. For the learner it is better 
to listen for the sound of the ball dropping into the hole 


252 







436 


437 


LONG-RUNNING-UP-PUTT STROKE (Running up a 40-footer) 


253 




























GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


than to look up to see it go in. The student has so much 
to think of while learning to putt that there will be no 
thought to spare for anxious anticipation as to the result. 

You must remember it is the putter head that puts 
the ball into the hole, therefore while learning to putt, 
it is the putter head we should watch. I do not mean that 
yon should watch it with your eye, but with your mind. 
Think of it and what you are doing with it. Look at your 
ball, and as you look at it, think of what you are doing 
with the club head. Think to keep the club face square, 
and think to swing the club along the line determined 
on. 

I have many a time had a crack player come to me 
and say, “I cannot putt any more. I used to be a good 
putter, too”. On close observation I found he was holding 
his putter right, and standing properly, and the like, but 
he had lost automatic control and was not concentrating 
on what he was doing with the club head. The club head 
would be set properly and the correct line was being 
found but when it came to making the stroke the club 
head would be travelling in the wrong direction. Per¬ 
haps the club face would be facing wrong too. Of course 
under such execution of the putting stroke no one could 
putt well. 

Just because you have set the club face at the right 
angle, and determined the proper line along which to 
swing the club, do not for a single instant think that yon 
have a guarantee that you will keep the club face facing 
right or that yon will swing the club along the line 
determined upon. Until-you have gained perfect auto- 


254 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


matic control you must think to swing the club along 
the line and to keep the club face SQuare. 

It is foolish to think that there is any one particular 
style in which to putt. For position, the beginner might 
well be guided by the illustrations shown. 

Aside from all matters of style we may say there are 
two ways of putting: 

1 By Mechanical Theory 

2 By Intuition 

Practically all star players putt by intuition, but all 
the star players who became famous for their wonder¬ 
ful putting ability developed their putting sense on good 
sound mechanical theory. Therefore, I say, learn to putt 

by aid of mechanical theory so that your stroke will be 
*. «/ %/ 

correct. When this has become a habit and your ability 
to putt is developed forget theory and concentrate on the 
thing to be done, i. e. put the ball into the hole. 

In the long putt stroke the chief thing is correct 
distance. If one makes a special effort to get the strength 
of the stroke right rather than the line, there will be 
fewer greens on which 3 putts will be taken than when 
line is made the chief thing. On a 30 or 40 foot putt if 
your ball is anywhere within 2 feet of the proper line 
and has just the right strength, you may consider your¬ 
self dead to the hole, i. e. sure of holing out on the next 
stroke. On the other hand if you make a special effort 
for line you may find yourself ten feet short or over the 
hole. 


255 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


There are two entirely different ways to swing the 


putter: 


1 By a I Vrist Action Stroke 

2 By an Arm Action Stroke 


Wrist action strikes the ball a tap, while the arm 
stroke strikes the ball more of a shove. 

I think there is no question that it is easier to gauge 
the proper strength to send the ball a given distance by 
the arm shove stroke than by the wrist tap stroke, and 
certainly it is much easier for the learner. 

Sometimes I putt by wrist action, at other times by 
arm action, depending on how the inspiration leads me. 
If I am putting badly one way, I try the other. If that 
does not work, I change my style of putting. If that fails, 
I change my club! 

In putting the putter head should follow thru; yet 
I have seen one of our great golfers in a spell of bad 
putting, violate all ethics of putting to the extent of 
taking a driver and striking the ball a stabbing blow. 
He thereby accomplished some remarkable results. 
They did not last long, however, and the funniest part of 
it all was that when he returned to his putter again, the 
extraordinary act had apparently caused a mental reac¬ 
tion which restored his proper putting touch. 

When putting sense and inspiration desert me T 
resort to putting by aid of mechanical theory. 


256 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


SHORT-PUTT STROKE 

All that lias been said concerning the long-putt 
stroke applies to the sliort-putt stroke except putting 
essential 2 touch, or form of propelling the ball, and 
special attention to line rather than to the strength of the 
stroke. 

In playing short putts, do not strike the ball a 
sweeping stroke, but a distinctly pushing stroke. Swing 
the club back the very shortest possible distance that is 
practical, and carry the stroke thru twice as far forward 
as you swing it back. This will materially help you in 
producing the pushing like effect in the stroke. 

The reason for striking the ball a pushing like blow 
is that the proper force required to send the ball the 
desired distance is far more easily controlled. 

It is a very common practice to tap the ball in 
putting, and this very tapping is why a great many 
players are not able to get the right strength into their 
putting strokes. A tap stroke, and especially a tap 
stroke that is made with wrist action, is very liable to 
send the ball too far. Then in fear of repeating this, the 
player will probably underestimate the next putt with 
the result that the ball is sent only half way to the hole. 
For this reason I strongly condemn the use of wrist 
action in putting, and advise using arm action coming 
either from elbow joint or shoulder. A very careful 
study of players who are famous for their putting 
revealed the fact that all use one form or the othei of 
the arm stroke, not one of them taps the ball v ith his 
wrist. According to this, then, play all putts with arm 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


action, long putts and short, the only difference between 
them being that the long putts should be struck a sweep¬ 
ing stroke while the short putts should be struck a push¬ 
ing stroke, and your ability to get the required distance 
will be much more reliable. Ilesort to a wrist action 
stroke only when in great dispair. 

Should a weakness for missing short putts develop, 
concentrate on four essential points: 

1 Think hard while playing stroke to keep putter 
face square to the line to the hole. 

2 Think hard to make putter head swing in an 
absolutely straight line toward the hole. 

3 Be sure to strike ball a shoving stroke (shove or 
push it into the hole). 

4 Half top ball or strike it a pulling up stroke to 
make it roll. 


If you are missing short putts it is because you are 
failing in some one or more of these four points; don 7 look 
anywhere else for your troubles. A change of style might 
bring about a momentary improvement, but it will not 
make you a consistently good putter. 

In putting use the stiff-wrist-arm-and-slioulder- 
swing Chip-Stroke Grip. Let the right hand be the 
complete master of the club, and grip firmly with it. 
Better still overlap the forefinger of the left hand on the 
little finger of the right hand; this is called “the reverse 
overlapping grip”. 


25S 










439 



440 



Putting by mechanical theory. Note in Illustration 441 the 
eye is still looking at the point where the hall lay. because 
the mind is still thinking of the control of the putter head 


259 



























GOLF FUNDAMENTALS BY SEYMOUR D UNN 


As in the long-putt stroke, learn 
to play short putts by mechanical 
theory and in this way develop cor- 
rect putting habit. Finally forget 
theory and place the hall. 

One famous putter was asked, 
“How did you become such a good 
putter f ’ The answer was, “I prac¬ 
tised putting one hour every day for 
ten years.” He certainly applied 
the twentieth fundamental. 

Not long ago a prospective 
pupil said to me, “How did you learn to drive so con¬ 
sistently far and sure'?” An old golfer standing by 
answered for me, “Oh, that’s “easy. All you have to do 
is drive balls all day long for 40 years as Dunn has done 
and you can do it!” 

I was afraid this was going to discourage my prospec¬ 
tive pupil and I was about to explain when she remarked. 
“Well that settles it. I shall at once take up golf. I have 
been looking for some diversion that is really worth 
while, something that will hold my interest in a healthy 
occupation as long as I live.” “Madam,” I remarked, 
“You will become a line player. Your remark shows the 
right spirit for the game.” In her remark I saw: 

INTELLIGENCE 

DETERMINATION 

COURAGE 

and 

WILL POWER 


In the long-putt stroke 
special attention should 
be given to force of 
stroke rather than line. 
In the short-putt stroke 
special attention should 
be given to line — force 
should take proper care 
of itself. 


260 









SHORT-PUTT STROKE in motion picture series 


261 



































GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


PITCHING OVEK A STYMIE 
Scientific Shot 

In playing over a stymie, simply play a very sliort- 
stiff-wrist-arm-action-swing-piteliing-eliip stroke with no 
follow thru. 


262 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 



263 











GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


A FEW PROPER STANDARD RANGES 

STROKE . EFFECT . 

Full stroke with Pitcher produces 100 yds. Pitch without run. 


% 

y 2 

4 4 

4 4 

4 4 

4 4 

85 

4 4 

“ with minimum of : 

4 4 

4 4 

4 4 

4 4 

70 

4 4 

44 44 44 44 

% 

4 4 

4 4 

4 4 

4 4 

55 

4 4 

44 44 44 44 

Chip 

4 4 

4 4 

4 4 

4 4 

40 

4 4 

(and less) 

Full stroke 

with mashie 

produces 

140 

yds 

i. Pitch without run. 

% 

% 

4 4 

4 4 

4 4 

4 4 

120 

4 4 

‘ ‘ and run. 

( 4 

4 4 

4 4 

4 4 

100 

4 4 

44 44 44 

G 

4 4 

4 4 

4 4 

4 4 

so 

4 4 

44 44 44 

Chip 

4 4 

4 4 

4 4 

4 4 

00 

4 4 

(and less) “ 

Full stroke with mid-iron 

produces 

180 

yds. Pitch without run. 

3 /4 

4 4 

4 4 

4 4 

4 4 

155 

4 4 

“ and run. 

% 

4 4 

4 4 

4 4 

4 4 

130 

4 4 

44 44 44 

v 4 

4 4 

4 4 

4 4 

4 4 

100 

4 4 

44 44 44 

Chip 

4 4 

4 4 

4 4 

4 4 

75 

4 4 

(and less) Practically all 


Full stroke with spoon brassie. . .. 210 yds. Long carry, little or no run 
Full stroke with driving brassie.. 230 yds. Long carry, medium run 
Full stroke with driver.250 yds. Medium long carry, long run 


264 








GOLF 


FUNDAMENTALS 


S E Y M O U R 


DUNN 


B Y 



265 











GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


THE SCIENCE OF GOLF CLUBS 


The oft quoted saying “It isn’t the gun but the man 
behind it”, is very true, but of what use is the man if the 
gun is seriously defective? The same applies to golf 
clubs. Give ever so good a player a defective or unsuit¬ 
able club and he is handicapped and correspondingly 
more so if his whole set is inefficient. Since the different 
kinds of strokes in the game are many, and to excel, they 
must be used in endless variety, the clubs are verv 
important. Since there is such a vast variety of ranges 
and character of flight to the many strokes, it is necessary 
to have an equipment which makes it possible to produce 
every kind of stroke. 

The ranges vary from a one-inch putt on the lip of 
the hole, up to a 250-yard drive. Beside distance, if the 
ball is raised from the ground, height of flight must be 
considered. When trying to gain greatest possible dis¬ 
tance from the tee, the first question is force and direction 
of wind. If with you, then by all means play the ball 
high because it will go further, but if against you, play 
low. The wind is only illustrative. There are many 
other elements affecting height of play, i. e. rising- 
ground in front. Since usually the lower the flight the 
longer the drive, how low can it be made and yet clear 


that rise in front of us? To meet these conditions, I have 
three wooden clubs in my set: driver, brassie, and spoon, 
all identical except in the loft to the face, and this 
difference is sufficient to alter the elevation of the flight 
and the range by 20 yards between each club. The 
driver sends the ball on a very low trajectory, conse- 


267 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


cpiently its carry is not very far, but tlie ball will run 
as if it would never stop. This is, of course, the stroke 
when wind is against you because the wind does not get 
such a grip of the ball when low as it would were it high, 
and the ball fairly eats its way along the ground. 
Suppose, however, the wind is with yon, nothing can be 
gained by keeping the ball low, while if you give it a 
fairly high flight the wind will help it, and you will get 
considerably more distance than if you play low. Some 
think it needless to have two clubs, that all one has to 
do is to tee low for a low flight and tee high for a high 
flight. That theory is very wrong, because to get the 
maximum range from any blow, the ball must be struck 
exactlv with the center of the club face. If you play with 


a specially high tee you strike above that point; if with 
a specially low tee, below it, thereby losing much power. 

Among other peculiarities, a golf club possesses a 
face, heel, toe, neck, sole, and so forth. The face is the 
striking surface, the outer half is the toe end, the inner 


half is the heel end. All players know to their sorrow 
what it means to hit too much on the heel or toe of the 
club face. Just as much power is lost by hitting too high 
as too low. Moreover, it is a bad trick. It is far better 


to cultivate hitting with the center of the club face only, 
and to produce the elevation desired by using clubs of 
different degrees of loft. So when playing with the wind, 
do not think that just because you are driving from the 
tee you must use your driver. That would be quite 
absurd. The driver should have very little loft, and you 
should train yourself to produce nothing but low flights 


26S 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


with it. Then, when yon want to drive a low ball against 
a wind, you take out a club with which you associate only 
low flights, swing naturally and normally and the club 
attends to the elevation for you, your care being only to 

hit the ball absolutelv true and clean. The standard of 

«/ 

play is now so high that to excel it is necessary to be more 
exacting and systematic and to make the most of every 
aid such as that just explained. Old slipshod ways will 
no longer win. The spoon is used when an unusually 
sharp rise or hill confronts the player. This club, as I 
make it, has a degree of loft that will elevate the ball at 
the same angle as a driving iron. As it is constructed on 
the lines of a driver, it has 10 yards more range than the 
driving iron, thereby, frequently enabling a player to 
make a green over a sharp elevation with one less stroke 
than without it. The old fashioned spoon was practically 
a wooden mid-iron, but my design is an entirely new idea 
with an old name, and is intended to produce the greatest 
possible distance with sharp elevation. 

With the iron clubs I work on the principles of 
trajectory to range the flight. Since many of our modern 
courses practically surround their greens with deep sand 
traps, in approaching we must be able to carry to and 
stop at all sorts of ranges, and we must be able to control 
these ranges so that we can stop within ten yards of am 
desired range. The practical ranges of carry are any¬ 
where from the spoon 210 yards down. To have a com¬ 
plete set of ranges, there must be a club for each range, 
dropping down in 20-yard steps to 100 yards. Of course, 
the strength of stroke can be varied, but a club played 


269 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


below its full power will not drop tlie ball dead on alight¬ 
ing. The normal range of a properly designed mashie, 
i. e. one with 35 loft is 140 yards. Played with normal 
full swing by an average good player, the ball actually 
will not roll more than 4 or 5 feet at that range. But play 
a three-quarter shot with it for a range of 120 yards, and 
the ball will alight 20 yards short of where it will stop. 
Play a half shot for a range of 100 yards and it will alight 
fnlly 30 yards short of where it will stop. With no trap 
on the edge of the green, and provided the undulation 
and smoothness of the ground be right, a half mashie shot 
for 100 yards would be all right, but not if there is a trap. 
Some professionals can perform many tricks and by aid 
of the under-cut-cut-stroke could stop the ball dead with 
a mashie at 100 yards range. But I do not propose to 
make jugglers of my pupils. Golf in its simplest form is 
quite difficult enough. Even the professional, who plays 
the under-cut cut-stroke exclusively, courts unnecessary 
danger, as it is the most difficult of all strokes. Tho 
perfectly legitimate at the proper time, the under-cut 
cut-shot is so risky, even at best, that it is folly to use it 
when avoidable. One of our special aims should be to 
simplify our golf, not to complicate it. The proper 
stroke for 100 yards range, with a trap at the edge of the 
green in your line of play, is with a pitcher ranged for 
100 yards. However hard you hit, if your stroke is true, 
your ball will go 100 yards and drop dead. 

In the complete set designed for myself there are 
12 clubs so arranged that each imparts to the ball both a 
certain range as well as a certain elevation of flight. 


270 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


Of course, a club’s range is determined largely by the 
power of the player, i. e. weak players will not obtain as 
long ranges as stronger players. Nevertheless, whatever 
the limits of a player’s power, if his set is properly sys¬ 
tematized, his clubs will have graded ranges, with no 
considerable gaps between the ranges of any two. A 
player should estimate the range of a stroke in so many 
yards and learn by practice which club to select for that 
distance, thereby making reasonably sure to be within 
10 yards of the required distance. It is really surprising 
how consistently accurate a club is in dropping a ball at 
its proper range, while a player using a high powered 
club and trying to drop balls at a slightly shorter range 
is away off the mark most of the time. A player using 
the proper club may “hit” as hard as he likes, so long as 
he plays a legitimate stroke and hits the ball square in 
the center of the face, he cannot greatly vary the range. 
That uniformity is just exactly what is wanted. This 
makes it possible to play much more accurately than by 
forcing or sparing a club’s normal power to any great 
extent. This nearly always results in disaster. Of course, 
if the pitch of a club is altered in any way by a trick in 
the handling, the ball’s trajectory will be changed and 
therefore the range also. Don’t play tricks. To become 
a winner, simplify your play. 


271 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


. 1 /d set of clubs consists of the following: 


Clubs 

Normal 

Standa 


Pitch of face 

Range, Y 

Driver. 

. 10° 

250 

Brassie . 

. 15° 

230 

Spoon . 

. 20° 

210 

(leek . 

. 15° 

220 

Driving-iron . 

. 20° 

200 

Mid-iron. 

. 25° 

180 

digger-iron. 

. 30° 

160 

Mashie . 

. 35° 

140 

Mid-Mashie. 

. 40° 

120 

Pitcher. 

. 45° 

100 

Niblick. 

. 40° 

100 

Putter. 

. 10° 

• • • 


When I have a range of 140 yards I take the mashie 
and give the ball the full power of my swing. If the 
range be 120 yards, then it is a full mid-masliie shot. If the 
range be between any two, perhaps 130 yards, I can take 
my choice of either mashie or mid-masliie and be within 10 
vards one wav or the other. The ball in both cases lands 

9 9 / 

with practically no run. For little shots of less than 
100 yards, one enters into the variations of the swing 
such as chip strokes, quarter strokes and so forth and 
any one of the seven approach clubs might be used in 
little shots and this would be determined by kind of shot 
required. If it be desired to pitch or toss the ball on to 
the green, one of the more lofted clubs would be used. 
If it be desired to play the ball on to the green runningly, 


272 



















GOLF 


FUNDAMENTALS 


SEYMOUR 


DUNN 


B Y 


then one of the straigliter faced or less lofted clubs would 
be used. 

While the above set of clubs is a complete set and 
all should be found in a good player’s bag, for the average 
player the driving-iron, jigger-iron, and mid-mashie are 
sometimes omitted. The remaining clubs are known as 
a three-quarter set. A beginner needs only a half set 
in which there are seven clubs: 

1 Driving Brassie 

2 Spoon Brassie 

3 Mid-iron 

4 Mashie 

5 Pitcher 

6 Niblick 

7 Putter 

Club 1 This gives the beginner a driving brassie 
with which to drive. It is an easier chib to drive with than 
a driver, owing to the more lofted face, it is easier for 
the beginner to get the ball to rise into the air. To make 
the ball rise with a driver, requires a tremendous wrist 
action which only the more or less advanced player has 
developed. 

Club 2 ()f the half set, the spoon or spoon brassie, as 

it is sometimes called is given to the beginner because it 
is easier to get the ball up out of the grass with it than 
with the regular brassie. As the beginner is more likely 
to be troubled with getting the ball to rise, the advanced 
player is more likely to be troubled with having it rise 
too high. So, as a player progresses, these two clnbs 


273 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


ultimately find the proper places in the set when the 
player acquires a three-quarter set. 

Club 3 Of the half set, the mid-iron is used for long, 
medium low trajectory approaches. This is the club with 
which everyone should begin to learn, as it is the easiest 
club to use in the entire set. Beginners should not 
attempt to nse any other club till they are master of the 
mid-iron. 

Club 4 Of the half set the mashie is used for me¬ 
dium long and medium high trajectory approaches. 

Club 5 The pitcher, is used for high trajectory, 
short approaches. 

Club 6 The Niblick, is used for getting out of 
bunkers. 

Club 7 The putter, for play on the putting green. 

The power or range of the approach clubs is fixed by: 

1 The amount of loft or angle or slope given to its 
face. 

2 The length of the shaft, 

3 The weight of the club head. 

So a player will hit as hard in sending a ball 100 
yards with the pitcher as he would in sending it 250 yards 
with the driver. This applies to all the clubs for pro¬ 
ducing their intended ranges. Of course, a player will 
vary the force of his blow too, by playing three-quarter, 
half, quarter and chip strokes, etc.; and these various 
strokes, three-quarter, half, etc., can be used with any of 
the seven approach clubs. 


274 





GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


\ ou can now begin to see what a tremendous variety 
of strokes can lie played. We have five different simple 
approach strokes which we may use with any one of seven 
different approach clubs. Seven times five equals thirty- 
five different results. Add to each of these thirty-five 
results a little “cut” or a little “push” of any desired 
degree, and the number of resulting effects are absolutely 
endless. You may chip on to the green with a pitcher, 
or it may lie better to do so with a masliie, as the pitcher 
might drop the ball on an undesirable spot, the side of an 


undulation that would deflect the ball from its course, 
for instance. Perhaps even the masliie may not lie the 
best club to use under certain conditions of undulation. 
Perhaps, it may be better to chip the ball up to the 
hole runningly, in which case you may use one of the 
straigliter faced clubs such as the mid-iron, or the driv¬ 
ing-iron, or even the cleek. The jigger-iron is a very nice 
club with which to chip up to the hole, but it may give 
the ball a little too much or not enough pitch for some 
conditions. Since all clubs are different in respect to the 
amount of loft to the faces, so will the effect upon the 
ball be different. So many little differences of condi¬ 
tions will lie met that just a certain one of those five 
strokes applied with a certain one of those seven 
approach clubs, with perhaps a certain amount of “cut” 
or “push” may give you just the kind of shot you want! 

I could classify no less than 245 distinctly different 
and definable approach shots alone. Then, too, there are 
many other shots besides approach shots. 


275 






GOLF 


FUNDAMENTALS 


B Y 


S E Y M O U R 


DUNN 


Tlie point I wish to emphasize is that every club has 
a definite range of its own, and that it is desirable to 
have several clubs of different ranges, because it is 
generally better to play the ball so that it will “carry” 
almost the entire range and stop dead on alighting. It is 
generally safer in the air than bounding along the 
ground and perhaps into some hazard. A proper com¬ 
plement of clubs makes it possible to produce these 
carrying ranges to a closer margin. Hence, the need for 

so many clubs. 

*/ 

While most approach shots should be of the “carry 
all the way” order, this shot should not be used exclus¬ 
ively; for every variety of shot including the running up 
approach, the pitch and run, the pitch, the cut, the push, 
the jab, the explosion, and all should be played in full, 
three-quarter, half, quarter and chip variety as condi¬ 
tions may require. All should be used in their proper 
place. My set contains a fitting club for each of the 
possible shots. 

The ranges of my several clubs are in systematic 
order, and a correct system is applied thruout the other 
details of my set. In many sets this is conspicuous by its 
total absence and is largely the cause of lack of progress 
in the player’s game. While there are also many other 
important points, there are fourteen variable principal 
points for the player to consider in a club. Classified 
they are: 





GOLF FUNDAMENTALS BY SEYMOUR DUNN 


Relative to Head 

1 Head weight 

2 Degree of loft 

Relative to Shaft 

3 Shaft weight 

4 Density of wood fibre 

5 Degree of flexion 

6 Finished amount of spring 

7 Diameter of shaft at top and bottom 

8 Power of shaft 

General 

9 Total length of clnb 

10 Total weight of club 

11 Angle of shaft to head 

12 Balance point 

13 Diameter of grip 

14 Character of materials 

These factors should he varied to suit each player 
and for every club of a set, since no two clubs should be 
alike in power. Yet every detail of every club must be 
in perfect systematic order so that each club will cor¬ 
respond in every respect, not only with its owner, but 
also with its fellow clubs. Many players have in their 
sets, clubs that do not correspond with each other at all. 
One demands one style of play, others another, while 
perhaps the owner is capable of producing neither. The 
reason for so much lack of system in sets is due to buying 


277 





GOLF 


FUNDAMENTALS 


B Y 


SEYMOUR 


DUNN 


one club here, another there, without a thought of sys¬ 
tematizing the set—doubtless because the player did not 
know how. 

Since no two players are alike either in height, 
weight, strength, age, style of play, or other details, clubs 
should be variously designed to suit the individual differ¬ 
ences of the endless variety of people. Therefore to 
equip a player properly with an outfit likely to produce 
the best results is not only a very complex but also a very 
difficult problem. Only one competent to analyze per¬ 
sonal requirements should undertake to choose clubs for 
a player, especially for a beginner. By starting with 
clubs of wrong proportions the player is forced to adapt 
himself to mis-fits which will in all probability handicap 
him permanently, for it is not easy to change an estab¬ 
lished style of play. It is far better to consult an author¬ 
ity on the matter at the outset and be on the safe side. 
I believe I have made a more exhaustive study than any 
other man of this very subject in twenty years of 
scientific thought and extensive experiment. As a result 
I have evolved a systematic means of determining exactly 
what a player ought to have for best results. Study my 
Golf Club Chart attached to rear cover. 


278 







452 

Seymour Dunn’s set of golf clubs 


279 































MEASUREMENTS 


Name Seymour Dunn 


Address Lake Placid 


New York State 


U. S. A. 


Date March 11/1920 

(1) Are clubs intended for man or woman? Man 



(2) Are clubs intended for a beginner, medium, or advanced player; if the latter, state handicap Advanced 


( 3 ) State age 38 


( 4 ) Height in golf shoes 6 feet 0 inches 

( 5 ) Weight 215 lbs. dressed 

( 6 ) Length of each arm from center of shoulder 
joint to fork between first and second finger 

( 7 ) Palm side length of second finger of each hand 


Height rating 5—10 
Strength classification Extra strong 


r 

t 


right 

left 

right arm 


Arms are the same length and in pro¬ 
portion to shoulder breadth. 


Fingers are normal length. 


I Left arm 

( 8 ) Total span of arms extended tip to tip. 6 feet 3 inches. 

( 9 ) What is the general physical strength; weak, medium strong, strong, or exceptionally strong? Extra strong. 

(10) What is the strength of the hand, wrist, and forearm muscles; weak, medium strong, strong, or exceptionally 

strong? Extra strong. 

(11) Are the clubs to be right or left handed? Right handed. 

(12) Are club handles to have rough or smooth grips; dry, oiled or waxed leather? Rough oiled. 

(13) In what method of grip are clubs to be grasped; finger grip or palm grip? Finger. 

(14) Is the swing inclined to be flat, upright, or orthodox? Orthodox. 


2S0 





























ORDER FORM 


ORDER NO. 


SEYMOUR DUNN 


Order received date 


From . . 


GOLF CLUB MAKER LAKE PLACID, N. Y. 

To be shipped date . 


By 


Freight 
•< Express 
Post 


Prepaid 

Collect 


To address 


State with or without steel insert in face of wooden 
clubs. 


MAKE THE FOLLOWING CLUBS 


Quantity Length and Weight Model Price 

.Drivers . * t 

.Brassies . t t § 


How to Measure a Club 

Measure from the Club heel 
to the extreme end of the 
shaft. The true heel of a 
Club is where the line of 
the sole intersects the line 
through center of shaft. See 
diagram below. 


.Spoons . 

.Cleeks . 

.Driving Irons . 

.Mid-Irons . 

.I rons . 

.Mashies . 

.Mid-Mashies . 

.Pitchers . 

.Niblicks . 

.Putters . 

* Clubs of the complete set. 
t Clubs of the three-quarter set. 
t Clubs of the half set. 

§ Clubs of the quarter set. 


* t t 

* f 

* 

* t t 8 

* 

* t t 

* § 

* t t 

* t $ 

* t t § 



Intersection of the 

LINE OF THE SOLE V1TH 
THE LINE OF THE SHAFT 


Special remarks 


Charge to 


Address 


Signature of Purchaser 


2S1 















































































SPECIFICATIONS 


Copy 

JH Clubs for Seymour Dunn s 1922 Set. Order Ao 

Address_____ 


Date 



Clubs are for 
Beginner 

Medium Player 

Advance Player 

Man 

Woman 

Club 

Right or Left 

Handed 

Length of Club 

from Heel to 

Shaft end 

Head weight; oz. 

Angle of lie in 

degrees 

Pitch of face in 

degrees 

Spring of Shaft 

Nature of 

Shaft Wood 

Diameter of grip 

in 1-1G of inch 

Diameter of Shaft 

Top and Bottom 

Power of Shaft 

Total weight 

of Club 

Notes 


Driver 

Adv 

Man 

R.Ii. 

42 

- 3 / 8 

53 

10 

14% 

Med 

13 

16 

Med 

Med 

Power 

ful 




Brassie 

*, » 

9 9 

9 9 

42 

? 3 / a 

53 

15 

14% 


13 

16 

Med 

Med 

Power 

ful 




Spoon 


9 9 

9 9 

42 

7 % 

53 

25 

14 % c 

9 9 

13 

16 

Med 

Med 

Power 

ful 




Cleek 

9 9 

9 9 

9 9 

40 

8 4 /e 

55 

15 

13° 

9 9 

13 

16 

Med 

Med 

Power 

ful 




Driving Iron 


9 9 

9 9 

39% 

8 % 

56 

20 

il 4° 

9 9 

13 

16 

Med 

Med 

Power 

ful 




Mid-Iron 

9 9 

9 9 

9 9 

39 

9 !4 

57^ 

25 

11'4 

Med 

Hard 

ii 

10 

Med 

Power 

ful 




Jigger Iron 

, , 

99 


38 % 

9V S 

58 

30 : 

11 

Med 

Hard 

13 

16 

Med 

Power 

ful 




Masliie 

99 

• 9 


38 

9% 

59 

35 

ll c 

Med 

Hard 

13 

10 

Med 

Small 

Very 

Power 

ful 




Mid Masliie 

9 9 

9 9 

9 9 

3714 

10% 

GO 

O 

o 

-f« 

O 

11 

Med 

Hard 

13 

io 

Med 

Small 

Very 

Power 

ful 




Pitcher 

9 9 

99 

9 9 

37 

10% 

G1 

45 J 

10 

Very 

Hard 

13 

ig" 

Small 

Very 

Power 

ful 




Aibliek 

99 

9 9 

9 9 

38 

11% 

59° 

40° 

13° 

flexible 

Tough 

13 

10 

Large 

Great 

Power 




Putter 

9 9 

9 9 

9 9 

3G 

9 5 /s 

G4 

10 

15° 

Soft 

13 

16 

Small 

Weak 





Special Remarks Wooden clubs to have steel inserts in face, All iron faces 


irregular dot corrugation. 


Rough side of leather on the outside 


Grips 


2S2 


















































GOLF 

FUNDAMENTALS 

B Y 

SEYMOUR 

DUNN 






453 

Don’t forget: Strong hands and wrists are most essential to the 
golfer. Be sure to develop your hands by regular 
exercise with a wrist machine 


283 


















Seymour Dunn’s 1920 Specification Chart for Golf Clubs 

WITH SCIENTIFICALLY CORRECT SCALE OF CLUB LENGTHS, HEAD WEIGHTS, LIES AND LOFTS RELATIVE TO EACH OTHER, AND TO THE 

HEIGHT AND STRENGTH OF VARIOUS PERSONS 


GOLF DIRECTOR LAKE PLACID CLUB 



GOLF DIRECTOR, SARANAC INN, N. Y. 


How to Measure a Club 


According to a player’s height, so should the length of the clubs be. 

According to a player’s strength, so should the weight of the club head be. 

Play with clubs too heavy rather than too light. 

Add or deduct one-fourth of any difference between span and height to or from the natural height (in golf shoes), deducting one-fourth of excess of span 
from height. Add one-fourth of deficiency of span to height to arrive at RATED HEIGHT. 

Have your clubs made by a maker who knows how clubs should be made. SEYMOUR DUNN is acknowledged by leading authorities the best club-maker in the 
world. Send for a measurement blank and mail your orders to Seymour Dunn, Lake Placid, New York. 


(gulf (Cuurar Arrljitprt 


Golf Director Laurel Country Club 

Srgmnur Smut 

(gulf fcxpprt 


(Eunaitltuuj (grmtkrrprr 


Expert Golf Instruction from the Elementary Principles to the Highest Science of the Game 
Scientific Golf Club Making a Specialty Wholesale and Retail 

Address: May 1 to November 1 Address: November 1 to May 1 

LAKE PLACID, N. Y. LAUREL, MISS. 


Measure from the club 
heel to the extreme end 
of the shaft. The true 
heel of a club is where 
the line of the sole inter¬ 
sects the line through 
center of shaft. See dia¬ 
gram. 


jll 

ill 


Ll»«T« Of Ctv» 






F 


RATED 

HEIGHTS 


6-4 


6-2 


6—0 


5—10 


5—8 


5—6 


5-4 


5—2 


5—0 


4—10 


Lie 

53“ 


DRIVERS 


Loft 

10 “ 


Lie 

53° 


BRASSIES 


Loft 

15° 


Lie 

53° 


SPOONS 


1 

a 

tfedium 

Teavy 

1 

•S 

Q) 

s 

Medium 

Light 

1 

! 

Medium 

Heavy 

S 

.2 

!§ 

a 

Heavy 

Medium 

Heavy 

Medium 

431/2 

431/2 

431/2 

431/2 

431/2 

431/2 

431/2 

431/2 

431/2 

431/2 

431/2 

431/2 

431/2 

70 

66 

64 

60 

56 

70 

66 

64 

60 

56 

70 

66 

64 

43 

43 

43 

43 

43 

43 

43 

43 

43 

43 

43 

43 

43 

71 

67 

65 

61 

57 

71 

67 

65 

61 

57 

71 

67 

65 

421/2 

421/2 

421/2 

421/a 

421/a 

421/a 

421/a 

421/2 

421/a 

421/a 

421/2 

421/2 

421/a 

72 

70 

66 

62 

60 

72 

70 

66 

62 

60 

72 

70 

66 

42 

42 

42 

42 

42 

42 

42 

42 

42 

42 

42 

42 

42 

73 

71 

67 

63 

61 

73 

71 

67 

63 

61 

73 

71 

67 

411/2 

4U/2 

411/2 

4U/2 

411/2 

411/2 

411/2 

4U/2 

411/2 

411/2 

411/2 

4U/2 

411/a 

74 

72 

70 

64 

62 

74 

72 

70 

64 

62 

74 

72 

70 

41 

41 

41 

41 

41 

41 

41 

41 

41 

41* 

41 

41 

41 

73 

71 

67 

63 

61 

73 

71 

67 

63 

61 

73 

71 

67 

401/2 

401/2 

401/a 

401/2 

401/2 

401/2 

401/2 

401/2 

401/2 

401/a 

401/2 

401/2 

401/2 

72 

70 

66 

62 

60 

72 

70 

66 

62 

60 

72 

70 

66 

40 

40 

40 

40 

40 

40 

40 

40 

40 

40 

40 

40 

40 

71 

67 

65 

61 

57 

71 

67 

65 

61 

57 

71 

67 

65 

391/2 

391/2 

391/2 

391/2 

391/2 

391/2 

391/2 

391/2 

391/2 

391/2 

391/2 

391/2 

391/2 

70 

66 

64 

60 

56 

70 

66 

64 

60 

56 

70 

66 

64 

39 

39 

39 

39 

39 

39 

39 

39 

39 

39 

39 

39 

39 

67 

65 

63 

57 

55 

67 

65 

63 

57 

55 

67 

65 

63 


US 

S3 


60 

43 

61 

42l/ 2 

62 

42 

63 

4U/2 

64 

41 

63 

401/a 

62 

40 

61 

391/2 

60 

39 

57 


Loft 

20” 

Lie 

55” 

CLEEKS 

Loft 

15” 

Light 

Heavy 

-n 

Medium 

Heavy 

1 -c 

Medium 

Medium 

Light 

Light 

431/2 

411/2 

411/2 

411/2 

r 

411/2 

4iy 2 

56 

82 

80 

76 

74 

72 

43 

41 

41 

41 

41 

41 

57 

83 

81 

77 

75 

73 

421/a 

401/2 

401/2 

401/2 

401/2 

401/a 

60 

84 

82 

0 

00 

76 

74 

42 

40 

40 

40 

40 

40 

61 

85 

83 

81 

77 

75 

4U/2 

<J> 

CO 

391/2 

391/2 

391/2 

391/2 

62 

86 

84 

82 

O 

CO 

76 

41 

39 

39 

39 

39 

39 

61 

85 

83 

81 

77 

75 

401/2 

381/2 

381/2 

381/2 

381/a 

381/2 

60 

84 

82 

80 

76 

74 

40 

38 

38 

38 

38 

OO 

CO 

57 

83 

81 

77 

75 

73 

391/2 

371/2 

371/2 

371/2 

371/2 

371/2 

56 

82 

80 

76 

74 

72 

39 

37 

37 

37 

37 

37 

55 

81 

77 

75 

73 

71 


Lie 

56° 


DRIVING IRONS 


Loft Lie 

20” 57” 


MID IRONS 


| 

Medium 

Heavy 

Medium 

g 

S3 

41 

41 

41 

41 

84 

82 

80 

76 

401/a 

401/2 

401/a 

401/a 

85 

83 

81 

77 

40 

40 

40 

40 

86 

84 

82 

O 

OO 

391/2 

391/2 

391/2 

391/2 

87 

85 

83 

81 

39 

39 

39 

39 

90 

86 

84 

82 

381/2 

381/a 

381/2 

CO 

OO 


x 

M 

3 


? 

B 


41 

74 

401/2 

75 

40 

76 

391/2 

77 

39 

80 


401/ 2 

86 

40 

87 

391/2 

90 

39 

91 

381/a 

92 



371/2 


85 

37 


371/2 371/2 

81 77 


371/2 37 
75 87 


84 

361/2 

83 


37 

82 

361/2 

81 


37 

80 




37 

76 


361/2 361/2 

77 75 


37 

74 

361/2 

73 


361/a 

86 

36 

85 


g s>. 
■3 > 

■g S 
SB 


401/2 

84 

40 

85 

391/2 

86 

39 

87 

381/2 

90 


361/2 

84 

36 

83 


S 

3 


s 


401/2 

82 

40 

83 

391/2 

84 

39 

85 

381/2 

86 


361/2 

82 

36 

81 


e 

.3 s 
'S’S 
S3 


401/2 

80 

40 

81 

391/2 

82 

39 

83 

381/2 

84 

38 


82 

37 

81 

361/2 

80 

36 

77 


Loft 

25” 


I 


Lie 
58” 


I 

H 


JIGGER IRONS 




401/2 

76 


40 

91 


40 391/2 

77 92 

I 

391/2 39 


g ^ 
■3 > 

•8 g 
SB 


80 


93 


40 

87 

391/2 

90 

39 

91 


- \— 

39 381/a 381/2 

81 94 


381/2 

82 


38 

95 



38 371/2 



92 

38 

93 

371/2 


m 


80 93 

37 361/2 

77 92 


91 

361/2 

90 


361/2 36 36 

76 91 87 

36 35l/o 351/2 

75 90 86 


g g 

3 S3 +> 

H Uli 

s S3 


40 

85 

391/2 

86 

39 

87 


40 

83 

391/2 

84 

39 

85 


Loft 

30“ 


bD 

3 


40 

81 

391/2 

82 

39 

83 


381/a 38i/ 2 

90 



351/2 351/2 

84 82 


Lie 

59” 


I 

a 


391 / 

94 

39 

95 

381/ a 

96 

38 

97 

371/a 


96 

36 

95 

351/2 

94 

35 

93 


100 

96 

37 

37 

97 

n 

PI 

361/ 

ii 

P 



Explanatory — ( 0 ) stands for decrees of a 360 degree circle. Upper figure in the squares means length of club in inches, lower figures head weight. Where there are two lower figures, such as 72, first figure means ounces, second figure eighths of ounces; thus 72 means 7 and 2/8 ounces; 100 means 10 ounces no fractions. 


FLAT LIES MEDIUM LIES UPRIGHT LIES 























































































































































































































































































































3V77-2 

























